Writing Accoutrements
Lion’s Head on Boquet Patent Model of His Mechanical Air-Compressed Inkstand
Louis-Honore Boquet was serving as mécanicien bronzier at Sevres when Traffaut filed his 1826 inkwell patent. Mr. Boquet purchased the bronze lion molds from Traffaut when he began designing his encrier a’pompe, ultimately resulting in his 1831 patent.
Sèvres Arbeotique Ecritoire
Documented in archives at the Sèvres National Porcelain Manufactory
Sèvres Arbeotique Ecritoire
Documented in archives at the Sèvres National Porcelain Manufactory
Sèvres Inkwells
Sèvres Arbeotique Ecritoire
Documented in the Sèvres National Porcelain Manufactory archives.
Original Drawings
Sèvres National Porcelain Manufactory
Sèvres porcelain, French hard-paste, or true, porcelain as well as soft-paste porcelain (a porcellaneous material rather than true porcelain) made at the royal factory (now the national porcelain factory) of Sèvres, near Versailles, from 1756 until the present; the industry was located earlier at Vincennes
This drawing excerpt exhibits several different inkwell models that were produced. The BLUE highlights document the Arbeotique inkwell.
[The depicted document excerpts are located at:
Arbeotique Documented
Sèvres National Porcelain Manufactory History
“The archives are organized according to workshop or department, providing information on the elaboration and history of Sèvres' productions, as well as their administrative, financial and artistic aspects. The importance of these archives has always been recognized.
During the French Revolution (1789-1799), the scientific documents were locked within a cabinet for their protection. Soon afterwards, Alexandre Brongniart (Director of the Manufacture from 1800 to 1847) established a classification system for all library and archival documents (graphic arts, models and moulds). For their proper inventorying, he created a new post, that of Collections Curator, first occupied by Denis Désiré Riocreux from 1812 to 1870.
The first summary inventory concerning only archival documents was published by Emile Bourgeois in 1906. Since 2010, it has been complemented by the Museum’s archives and continually updated (see the online archival inventories).
Numerous archival summaries are made available, rendering the information more rapidly accessible via the consultation room documentation.”
Source: https://Sevresciteceramique.fr
Functionality of The Sèvres Designs
The image of original Sevres factory documentation, depicted above, notes “Ecritoire ronde à compartinent“ or round inkwell with compartment. Internally, this example is partitioned in two levels. ostensibly to reduce ink spills.
Dimensions
Dimensions: Height 3.8cm/1.5in Width 6cm /2.4in
Note that the embellishment in gold of two words, “Ecritoire arbeotique”.
The Sèvres Mark
The mark is consistent with manufacture production from 1814-1824 , although according to a document from the Sevres archive the date may be 1811.
The Sèvres Mark
The mark is consistent with manufacture production from 1814-1824 Source: https://www.sevresciteceramique.fr/media/marques-sevres.pdf
However, later documentation (see below) memorialized 1811 as the date of production.
Sèvres Archeotique
Sevres’ published an Index of production items 1800-1848, a later inventory document that lists this inkwell as “Archeotique” with 1811 as the production date.
Sèvres Manufacturing Marks (Hallmarks)
Validation of a piece according to the Sèvres manufactory…
The hallmark on both of the depicted inkwells conforms to the documented hallmark for the the year produced, however; incomplete or inadequate firing of the the outer glaze containing the hallmark on the base of each inkwell is not the rich blue expected. Validation under microscopic examination revealed the inadequate firing results.
The Sèvres factory preserved historic documentation that validates the shape of this type of inkwell and the internal compartmentalization is mentioned. Finally, the ‘ecritoire arbeotique’ inkwell is documented in the historic documents.
According to the Sèvres manufactory, validation of a piece should not depend solely on the hallmark.
“The presence of the word “Sèvres” on the back of a ceramic object does not necessarily mean that it was made at the National Manufactory. Indeed, a certain number of private workshops have been set up in the town of Sèvres and have been able to legally benefit from all the magic evoked by this prestigious name.
These marks therefore do no constitute the only authentication criteria for Sèvres’ production, which has ever been extensively imitated; other determining factors are the quality of the paste and enamel, the purity of the gold, the forms and motifs, and the finesse and skill of their execution.
Before looking at the easily falsified manufacture marks, one must carefully examine all aspects of the piece of porcelain in question.”
Source:
Validation of a Sèvres Ceramic Object
Image Notes & Observations:
The microscopic views of the hallmark reveal several notable observations:
1. The hallmark crossed L’s were incised into the paste.
2. The hallmark was brushed onto the base, however; the consistency may have contained inadequate water, resulting in missing segments.
3. The final firing processing only partially fused the hallmark to the glaze, resulting in proper general design without detail.
4. Observation of the classic Sèvres blue is present in fused particles over the entire hallmark.
The image on the left is the hallmark under magnification, while the image to the right is exhibited at higher magnification, revealing the textures observed.
Sèvres Mark for 1830
Each of the inkwells are hallmarked with a similar technique, appearing under magnification to be an over-glaze mark fired onto the base.
Another Sèvres Inkwell
Exhibited is another of the Sevres round, compartmented inkwell. This later edition was produced in 1830.
The Path to Boquet’s Encrier a’Pompe
Sèvres Connection to Encrier a’Pompe
Louis-Honoré Boquet was a notable French engraver and inventor, known for his contributions to both the art of porcelain and the development of mechanical inkwells.
Louis Honoré Boquet was born in Formerie in the Oise on October 5, 1786. He died in Sèvres on March 19, 1860.
Mr. Boquet was first a porcelain modeler at the Dagoty porcelain factory (Blvd Poissonnière à Paris) when in 1811 Alexandre Brongniart noticed him and offered him to return to the royal factory of Sèvres.
His work at Sèvres, the royal porcelain manufacturer, positioned him as a key figure in the production of exquisite porcelain pieces during the late 18th and early 19th centuries.
His work at Sèvres began as a porcelain modeler in September 1811. He becomes a bronze modeler on February 06, 1815 mécanicien bronzier, editor and chiseler in bronze on July 01, 1823. He was promoted to supervisor of the bronze assembly workshop on November 1, 1851 and retired on April 30, 1854.
Mr. Boquet worked on the box of the tabatière of Louis XVIII (1819 - 1820) (d). It's the most prestigious that came out of the Sèvres factory under the Restoration. This box intended to contain the king's snuffboard also housed painted miniatures intended to be embedded alternately on the cover of this snaker. This work required the intervention of several artists under the direction by Alexandre Brongniart.
Louis-Honoré Boquet’s French patent for “Machines suitable for raising the tiles on their surface, and regularizing them on hexagonal sides, or on any other shape that we will want to give them” represents a significant innovation in the tile manufacturing industry of the early 19th century.
This patent, filed on March 28, 1825, and issued on April 28, 1825, describes a machine designed to automate and improve the process of shaping and regularizing tiles.Machines suitable for raising the tiles on their surface, and regularizing them on hexagonal sides, or on any other shape that we will want to give them.File rate 1BA977No Patent number before 1844Type of patent 5-year invention and improvement patentDate of deposit 28.03.1825Date of issue 28.04.1825Applicant(s) / Profession(s) BOQUET Louis-Honoré / employee at the Sèvres factory (92072)Agent TRUFFAUT Louis-Henri-Joseph Address(es) Paris (75056) 73, rue Saint-Lazare.
Louis-Honoré Boquet’s 1825 patent for a tile-raising and regularizing machine exemplifies early industrial innovation in manufacturing technology. By automating the process of shaping tiles and ensuring consistency in their production, Boquet’s invention contributed to advancements in both efficiency and design flexibility in the tile manufacturing industry. This patent highlights Boquet’s role as a forward-thinking inventor, leveraging his experience at the Sèvres factory to pioneer new mechanical solutions.
Louis-Henri-Joseph Truffaut represented Monsieur Boquet in his 1825 patent application, exhibiting that a relationship was ongoing prior to Monsieur Truffaut’s patent application for his encrier a’pompe .
The same Louis-Henri-Joseph Truffaut who was agent for Boquet in the 1825 patent application was appointed the first patent agent in France when the French legislature created the first patent office in 1791.
The images are from The Louvre
1819 / 1820 (1e quart du XIXe siècle)
Brongniart, Alexandre Théodore
Merci Beaucoup to Philippe Schilovitz, Master Restorer and Mécanicien Bronzier at A l'encrier voyageur à Paris, for his assistance in publishing this story.
David Edwards
In 1813 British inventor David Edwards founded his cabinetmaking business at 84 St James’s Street, London. After about a year, he relocated to 21 King Street, Bloomsbury, London. Renowned for the exceptional quality of his craftsmanship, Edwards was appointed “Writing and Dressing Case Manufacturer to His Most Gracious Majesty” shortly after King William IV ascended the throne in 1830.
See https://www.antiquebox.org/edwards/ for more details about Edward’s cabinet related inventions.
Source: Titles of Patents of Invention, Chronologically Arranged from March 2, 1617 to October 1, 1852
Printed and Published by Order of the Honourable the Commissioners of Patents, by Bennet Woodcroft, Superintendent of Specifications, Indexes, & etc.:
The exhibited image above is attributed to David Edwards‘ British Patent Number 5105, granted 26th Feb. 1825, unto David Edwards, of King Street, in the parish of Saint George, Bloomsbury, in the county of Middlesex, writing desk and dressing case manufacturer, for his invented "Ink stand, which is so constructed that by means of pressure the ink is caused to flow to use"; to hold,”
I requested a search of the British national archives to produce a copy of the patent for the Edwards inkwell.
Information provided from research performed in France indicates that on an unknown date in 1825, David Edwards visited Louis Henri JosephTruffaut, the patent agent for the French patent office, expressing intent to submit a patent for a novel inkwell design. Mr. Truffaut agreed to represent Mr. Edwards’ inkwell, however no patent is found within the INPI (Institut National de la Propriété Industrielle). I await further document discovery in Paris that may reveal any other related events.
Louis-Henri-Joseph Truffaut
Louis Henri Joseph Truffaut, from his office at 73 rue Saint Lazare in Paris, requested on April 15,1826 that he have temporary property rights granted for the inkwell patent, a right guaranteed to inventors and importers of novel ideas and improvements . This may be similar to a Provisional Patent Application with the United States Patent & Trademark Office (USPTO).
With no further information or action from Edwards, perhaps Mr. Truffaut decided to file his own novelty claim for improving the Edwards original concept. Without wording for the supposed Edwards patent in England, no comparison of the two patents may be performed.
He later applied for a ten-year patent which was awarded for a mechanical writing storage system that provided liquid ink enabled to disappear at will.
David Edwards 1825 Patent Located
The British national archives found the 1825 David Edwards Ink Stand patent number 5105 specifications, including a patent drawing, in a roll of period vellum archival records. A search of the Sothebys website for the Archibald Douglas silver inkstand mentioned in Mike Finlay’s book Western Writing Implements produced no results, however; a somewhat similar inkpot is described by Christies in a 2002 auction.
1824 Vintage Pump Inkwell
A search of the Sothebys website for the Archibald Douglas silver inkstand mentioned in Mike Finlay’s book Western Writing Implements produced no results, however; a somewhat similar inkpot is described by Christies in a 2002 auction.
The description provided by Christies further informs who produced and the date of production:
”A George IV silver-gilt inkpot
Mark of John and Archibald Douglas, London, 1824
Cylindrical and on rim foot, the screw-off cover with Royal crown and cushion finial, the body with cone-shaped ink reservoir, finely engine-turned overall, with clear glass liner and cork plunger, marked on side and cover
6¼in. (16cm.) high“
Further details from Christies reveals the internal function of the inkpot:
“This ingenious inkpot works holds the ink under pressure in the thick glass liner of the cylindrical silver-gilt pot. When ink is required it is forced out of the reservoir by turning the Royal crown finial clockwise. This lowers the cork plunger which drives the ink out of the container into the conical vessel on the side. The pen-nib is dipped into the container and replenished with ink. A similar inkpot of 1825 is illustrated in M. Findlay, Western Writing Implements in the Age of the Quill Pen, Carlisle, 1990, p. 162, pl. 254”
Note that the Edwards patent specification does not mention use of cork in any form. Without examination of the item no further analysis may be performed.
Edwards/Douglas Comparison
The depicted ink stands/inkwells are both attributed to Archibald Douglas as compared to the David Edwards patent ink stand drawing. The Edwards ink stand patent mentions use of a “glass dust proof lid” inside the glass inkwell liner which is pressed down by turning the crown knob on top. No mention of cork is made in the Edwards patent.
The silver gilt (vermeil) Douglas inkstand, produced in 1824, as well as the image above it are each subtly but differently designed, possibly produced for British Royalty.
The description provided by Christies regarding the mechanism of the silver gilt inkstand indicates that cork is utilized to apply pressure on the ink reservoir which cause the dipping well to fill.
Truffaut - Boquet Comparison
Mr. Truffaut encouraged Mr. Boquet to file his patent for improving the Truffaut mechanism In 1831. A comparison of the Truffaut & Boquet exterior configurations reveals nearly identical features between them. Boquet purchased the bronze molds from Truffaut and advanced his novel designs.
Truffaut 1826 Patent
Louis-Henri-Joseph Truffaut was awarded his 1826 patent no. 2969 for improvements
Truffaut's inkwell, whose patent was later acquired by Boquet, worked thanks to a crystal disc that compressed a spongy ink reservoir of wool, horsehair, or any other similar materials inside a crystal vase.
Boquet's novel inkwell design improvement was pneumatic:
Inside the cylinder a "crystal vase" is topped by a rubber coëffe or membrane. Operated by air compression, one must loosen or unscrew the small screw at the back so that the air can escape to fill with ink. The "glass vase" by the cone that is in front, then we screw the small screw. (as there is no more of air inlet, the ink cannot leak from the waterproof container.
When the top knob or button is turned pressure is applied to the rubber coëffe or membrane and by air compression, the ink is pushed into the dipping cone. When the button is turned in the opposite direction, the ink is drawn inside the crystal ink reservoir.
The bronze parts of the inkwell , which were not mechanical, were brazed with tin for it was impossible to weld because the interior of the inkwell is lined with crystal.
Few examples of this inkwell were produced due to the complicated process of manufacture and fragility of the mechanism.
On August 12, 1837, Mr. Boquet, from an address for service in Paris of 18 rue de Rivoli, filed a new application for 10-year patent for further improvement of his invention. On December 9, 1837 Boquet obtained this patent. The refinement is merely a cylinder made of wood, glass or other material that will compress the ink.
1831 Boquet Patent
In 1831, Monsieur Boquet acknowledged the prior art of Traffaut in his patent application and specification, comparing the Louis-Henri-Joseph Traffaut design with his own novelties.
Mechanical air-compressed inkwell.
File rate 1BA6119
Patent number no number before 1844, however the patent indicates a number 4726.
Type of patent 10-year invention and improvement patent
Application date 09.05.1831
Date of issue 01.08.1831
Applicant / Profession: BOQUET Louis-Honoré / bronzier mécanicien
Address: Sèvres at the Sèvres factory
In 1831, Boquet was awarded a patent by the French government for his innovative mechanical inkwell, known as the “pump inkwell.” This design featured a mechanism that allowed for the ink level to be raised and lowered, making it easier to use and less prone to drying out. This invention not only showcased Boquet’s ingenuity but also earned him a silver medal at the 1839 Paris Exhibition, highlighting his continued improvements to the design over the years.
Boquet’s involvement with Sèvres included submitting detailed drawings and designs for various porcelain pieces, contributing to the artistic and functional advancement of the porcelain industry. His family also played a role in the business, indicating that the pump inkwell design was likely a collaborative effort within his household, further enriching the family’s legacy in innovation and craftsmanship.
Boquet’s impact extended beyond his patents and work at Sèvres, influencing the design and production of writing instruments and their accessories, which were integral to the daily life of the literate classes during his time. His work remains an important part of the history of mechanical inkwells and porcelain artistry.
Boquet Workshop at Sèvres
Louis Honoré Boquet made an agreement to have his workshop in the manufacturing facilities of Sèvres while being independent of it.
The pump inkwells designed and manufactured by Boquet in his workshop in Sèvres were sold in Paris in a shop located at 1 rue de Richelieu.
The storefront was operated by Mr. Boquet’s son Jean-Louis Adolphe, known as Boquet Fils, (patent in 1841) and his daughter Boquet Marie Virginie called Boquet Mademoiselle (patent 1852). In this shop one could choose the different components and custom design of an inkwell .
After Brongniart's death in 1847, Jacques-Joseph Ebelmen closed the workshop of Boquet and put on sale all tools, instruments, and associated machines.
Mr. Boquet became supervisor of the bronze fabrication workshop on November 1, 1851.
Boquet 1831 Patent Model
This operational 1831 patent model by Louis-Honore Boquet exhibits the improvements Mr. Boquet introduced in his patent specification.
Note the pressure release knob/valve on the left side from this view of the inkwell which would be used for adjusting to barometric pressure changes and general re-calibration of the atmospheric chamber of the inkwell.
The drawer in the base has storage for a replacement pressure membrane.
On the underside of the opened drawer the number 10 is found in two adjacent locations indicates the production number. One of the 10’s is just beneath the maker hallmark, BOQUET.
Brevet D’Importation Et De Perfectionement
The Inscription “Brevet D’Importation Et De Perfectionement” is embellished upon the top knob.
With the top cap unscrewed and removed the inner working of the patent model is revealed.
The interior consists of a blown glass ink receptacle with a connection to the lion head dipping well.
A rubber membrane covers the blown glass ink receptacle enabling a sealed container with an air gap between ink and the rubber membrane. The rotating top knob is finely threaded with a metal disc on the underside. When the knob is turned the disc lowers onto the rubber membrane compressing and pressurizing the air gap. The result is raising or lowering the ink within the dipping well, the so-called magic disappearing ink.
The complexity of manufacture resulted in scant production resulting in Mr. Boquet inventing the widely used porcelain cylinder for raising or lowing ink in the dipping well. This became the dominantly manufactured & sold pump inkwell.
This Encrier a Pompe is extremely rare, few examples of a patent model product find their way into collector’s hands. This model is one of 10 produced for the patent.
Note the slide out drawer which is marked with a 10. The underside of the inkwell base is hallmarked “BOQUET” with a number 10.
The base of the inkwell is embellished with a lion’s head and two snakes wrapped around the lateral pen stowage.
Source: Thanks to Philippe Schilovitz, Master Restorer at A l'encrier voyageur à Paris, it is part of the collection.
The base of the inkwell is embellished with a lion’s head and two snakes wrapped around the lateral pen stowage.
Source: Thanks to Philippe Schilovitz, Master Restorer at A l'encrier voyageur à Paris, it is part of the collection.
French Ecrier a Pompe with Bell
Rarely found, artfully executed inkwell system.
Louis-Honore Boquet produced this inkwell in his workshop at Sevres. The bell and mechanism is attributed to Jean-Baptiste Pelletier and Pierre Glor, patented on April 19, 1844.
This Encrier a‘Pompe is extremely rare.
Source: Thanks to Philippe Schilovitz, Master Restorer at A l'encrier voyageur à Paris
Front View
In fine, original condition.
French Pump Inkwell with Bell
The Bell gong mechanism is untouched, i.e., in unrestored condition.
Jean-Baptiste Pelletier Patent
French 1844 Patent No. 13,127 provided novel art of multiple sonnete / bell systems.
1839 Louis-Honore Boquet Inkwell
Designed after the original Traffaut / Boquet lion’s head dipping well, this 1839 model is rarely found.
Boquet Artistic Flair
Louis-Honore Boquet produced this inkwell in his workshop at Sevres.
The style of this inkwell form is documented in the Sevres archive.
This Encrier a‘Pompe was restored by Philippe Schilovitz, Master Restorer at A l'encrier voyageur à Paris
The Piston
The low profile offers effortless function to raise or lower ink levels.
Overview
The porcelain base design is present in the Sevres archive.
Jean Benoit Mallat
Encrier Atmosphérique
Jean Benoit Mallat invented an ”atmospheric” inkwell in
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J.B. Mallat — H. Mallat Fils, Succesor
This image is an advertisement for J.-B. Mallat and H. Mallat Fils, Successor, a company that produced fountain pens and inkwells in Paris, France. The advertisement features two different inkwell designs, along with information about the company's location, and the types of pens they manufactured.
The top of the advertisement shows a series of coins with dates ranging from 1846 to 1867, possibly indicating the company's long history. The text also mentions that they were the inventor and manufacturer of indelible pens with diamond tips, as well as steel pens in various sizes. Additionally, the text notes that their atmospheric inkwells kept the ink clear.
Mallat Patent Drawing
Exhibiting a side view of the mechanism and a top view of the design.
Mallat Longevity
The Mallat brand was founded in 1842, and Jean Benoit Mallat invented the Siphoïde pen in 1864. The company's fountain pen sales had declined by 1960, but was taken over by an international writing materials company in the mid-1990s. Today, Mallat continues to produce office equipment, including low-end cartridge pens.
Joseph Henri Jules Brianchon Inkwell
Brianchon Snail Inkwell
French Patent No. 107226 filed on March 2, 1876, by Joseph-Henri-Jules Brianchon, details an innovative method for ornamenting glass beads and similar items using metallic salts to produce iridescent and pearlescent color effects, resulting in exquisite rose to violet shades creating one of the earliest pearlescent tones.
Brevette No. 107226
Brianchon identified the use of three specific metal salts to generate distinct pearly tones on glass surfaces:
Metal Salt Source - Compound - Color - Mechanism
Gold Mist (Sel d’or en vapeur) likely gold(III) chloride (AuCl₃) or colloidal gold Soft pink, rose, or ruby pearlescence. Thin films of colloidal gold develop red/pink iridescence via plasmon resonance and light interference.
Uranium Salt likely uranium oxide (UO₂) or uranyl nitrate (UO₂(NO₃)₂) Yellow-green or chartreuse pearlescence Uranium imparts a fluorescent yellow-green tint; films glow under UV and refract light vividly.
Palladium Salt likely palladium(II) chloride (PdCl₂) Silvery-gray or opalescent white Palladium forms a reflective metallic layer producing cool white or gray iridescence.
13 March 1876
Brianchon’s 1876 patent represents a seminal contribution to the chemical decoration of glass objects, blending artistry with early material science. His controlled use of gold, uranium, and palladium salts foreshadowed modern nanocoating and thin-film optical technologies, achieving color through interference and refractive effects, rather than pigments or dyes.
Brianchon’s process was innovative in several ways:
• Controlled Iridescence: It provided a method for artisans to create controlled, repeatable iridescent effects, which previously relied on more labor-intensive layering or metal foiling techniques.
• Precursor to Dichroic Glass and Lusterware: The approach anticipated later developments in both dichroic glass (20th century) and Art Nouveau lusterware, where similar chemical-metal interactions are exploited.
• Safety Considerations: Though effective, the use of uranium and gold chloride posed toxicity risks. The patent reflects a period when aesthetic effects took precedence over health and safety awareness.
Brianchon Encrier
The invention does not rely on surface coatings in the traditional sense (like metal leaf or enamel) but rather employs solutions of precious and transition metal salts that are applied to the surface of glass items and fired under specific conditions to develop a thin metallic film or iridescence. This metallization technique is an early example of what might now be classified under chemical vapor deposition by thermal decomposition, albeit in a very rudimentary 19th-century form.
S. Silliman & Co. Inkstands
Silliman Inkstands & Penner
Samuel Silliman founded Silliman & Co. Samuel Silliman was a joiner from Chester, Connecticut. In 1831 he established a factory where he made lamp brackets, mallets, rulers, spool stands, sandboxes, and inkwells. After merging with a number of partners in 1832, the business became known as S. Silliman & Co. The penner, depicted in the center, has a carved mother-of-pearl button inlaid in its top and is further illustrated below.
Silliman & Co. Label
Affixed to the bottom
School Inkstand
Depicted is the School model of the Silliman inkstand.
Silliman Penner
The penner is attributed to Silliman because the inkstand, when detached and viewed separately, is consistent with Silliman rosewood travel inkstands. The dimensions of the rosewood penner are as follows: 1.00 in/2.5cm diameter - 8.125 in/20.6cm height.
Silliman Penner Top
Penner inkwell section top button.
Silliman Travel Inkwell
The travel inkwell was particularly popular during the Civil War. Silliman designed their portable inkwells so that the ink would not freeze. 1.125in/2.8cm diameter,
Georgian 1750 Agate Etui
18thC GEORGIAN 18k GOLD MOUNTED AGATE ETUI
18th Century Georgian 18k gold mounted on agate etui, of quiver form, the openwork gold mounts chased with scrolls and flowers, banded grey agate panels, enclosing personal tools.
Banded Grey Agate Panels
SIZE
Height: 9.7cm
Width: 3.8 x 1.5cm
Weight: 98g
18k Gold Mounted - Ruby Finial & Button
London, England
Tools on Display
Porte Crayon, Ivory 2-leaf Note Pad, Stylus, Scissors, Needle, Knife
Thomas Ribright - London
Thomas Ribright
Thomas Ribright the elder, 1720 - 1781, was a skilled optician and a respected member of the Spectacle-Makers' Company. In fact, he even held the prestigious position of being the master of the company from 1758 to 1760.
Thomas Ribright began his journey as an apprentice under Thomas III Sterrop, gaining valuable knowledge and expertise in the field. Throughout his career, Ribright trained eight apprentices of his own and was succeeded by his son, George Ribright. His reputation as an optician was further solidified by his formal appointments as an instrument maker to the Prince of Wales and to the Office of the Ordnance.
A notable achievement of Thomas Ribright was the patenting of an elegant compendium of drawing and optical instruments in 1749 under Patent No 649, being described as 'An entirely new method of making small perspective glasses with mathematical & other instruments and tweezers in one and the same case, both with and without Microscopes or Magnifying Glasses therein, in a very portable, neat, & ornamental manner...' The depicted example is one of those 'with microscope'.
This invention showcased his ingenuity and commitment to advancing the field of optics. Thomas Ribright the elder's contributions to the field of opticianry, his prestigious appointments, and his innovative inventions made him a respected figure in his time.
Microscope Edition
The cylindrical tube covered with black leather, an eyepiece at the section with adjustable cover, a lens mounted at each end with sliding cover (operated by a lever), the cylindrical case with lid opening up to reveal the interior case and instruments within.
In addition to ivory 2-leaf note pad, knife, scissors, and combination tool, the included gold pen / porte crayon holder is equipped with period Gold Pen nib.
Black Leather Covering
Length 10.5cm
Third Quarter 18th Century
The Rastrum & Music Scores
Composer Tools
Rastrum in Music Notation: Technical Background
Definition and Purpose
A Rastrum is a tool used in music notation to draw staff lines on blank sheet music. The staff, consisting of five horizontal lines, is the foundation of Western musical notation, providing a framework for indicating pitch and rhythm.
Historical Context
Before the widespread availability of pre-printed staff paper, musicians and composers needed a reliable way to create staff lines manually. The Rastrum, developed in the 16th century, provided a solution by allowing users to draw multiple parallel lines simultaneously, ensuring consistent spacing and alignment.
Design and Functionality
A typical Rastrum features:
1. Multiple Nibs: The tool has several nibs (usually five) that draw parallel lines with a single stroke.
2. Adjustable Width: Some rastra (plural) allow adjustment of the space between lines to accommodate different musical needs, such as varying staff sizes for different instruments.
3. Materials: Historically made from wood and metal, modern rastra might also include plastic components for durability and ease of use.
Usage Technique
1. Ink Application: Users dip the rastrum in ink, ensuring that all nibs are adequately covered.
2. Drawing: With a steady hand, the rastrum is drawn across the paper, depositing five evenly spaced lines.
3. Maintenance: Regular cleaning of the nibs is essential to prevent ink clogs and ensure smooth operation.
Modern Alternatives
While the Rastrum remains a valuable tool for calligraphers and music historians, contemporary music notation often relies on pre-printed staff paper or digital notation software. Programs like Finale, Sibelius, and MuseScore allow composers to create and edit music scores with precision, offering a wide array of customization options beyond the capabilities of a rastrum.
Importance in Music Education and Manuscript Preparation
In educational settings, understanding the use of a Rastrum can provide students with insight into historical music notation practices. For manuscript preparation, especially in historical musicology, using a rastrum can be crucial for creating authentic reproductions of period-specific scores.
The Rastrum, while largely supplanted by modern technology, remains an important tool in the history of music notation. Its role in ensuring precise and consistent staff lines has been fundamental in the evolution of musical scores, bridging the gap between manual artistry and printed music.
Rastrum with Multiple Nibs
Enables drawing the staff lines concurrently.
Mottier Music Staff Lines
This pen holder, marked Plume A. Mottier S.G.D.G. , was produced in France In the 19th century.
Mushroom Wax Seal
Artistically created in silver with mother of pearl top.
Musical Score Engraved
The seal matrix is a musical score. Note the snail.
Alphonse Giroux - Paris
Maison Giroux Tortoise Shell, Gold, & Silver Pique Writing Set
Maison Alphonse Giroux was founded in 1799 by the talented François-Simon-Alphonse Giroux, who was not only an art restorer and cabinet maker but also had the esteemed position of being one of the official restorers for the renowned Notre Dame Cathedral. The business was located at 7, Rue du Coq-Saint-Honoré in the vibrant city of Paris. Initially, they focused on selling artist's supplies and showcasing the exquisite products of Giroux's cabinetmaking skills.
His sons, André and Alphonse-Gustave joined the business in 1834. Upon the retirement of Francois-Simon-Alphonse Giroux in 1838, his eldest son, Alphonse-Gustave Giroux, took over the business as named ‘Alphonse Giroux et Cie’. Under his control, the business gained further acclaim for the quality of their work and merchandise, winning a silver medal at the 1839 Exposition des Produits de L’industrie Française.
In 1839, Louis-Jacques-Mande Daguerre, inventor of the Daguerrotype photographic process and its associated camera, signed one of two exclusive contracts with Alphonse-Gustave Giroux (his brother-in-law), to manufacture and retail the camera through his business.
In 1857, the business moved to 43 Boulevard des Capucines in Paris, their exclusive dual aspect department store, extending to the adjacent Rue Neuve des Capucines 24.
The business was taken over by Duvinage and Harinckouk in 1867.
François-Simon-Alphonse Giroux, born on 6th April 1776 in Paris and passed away on 1st May 1848 in Paris, was a talented French art restorer and ébéniste or cabinet maker.
Giroux had the privilege of studying painting under the renowned Jacques-Louis David. Towards the end of the 18th century, he established his own art restoration business, which would later become quite illustrious. Notably, Giroux held the esteemed position of being the official restorer of the Notre Dame Cathedral, showcasing his exceptional skills.
In addition to his restoration work, Giroux had a discerning eye for art and actively collected and exhibited works by notable artists such as Louis Daguerre, Charles Marie Bouton, Charles Arrowsmith, Charles Renoux, and many others. His business extended beyond restoration, as Giroux's team also crafted and sold furniture in various captivating styles, catering not only to the French royal family but also to other distinguished patrons.
Overall, François-Simon-Alphonse Giroux's passion for art restoration, his keen eye for collecting exceptional artworks, and his talent for furniture making made him a prominent figure in the art world of his time.
In June 1833, the esteemed company Alph. Giroux & Cie. played a pivotal role in introducing the Phénakisticope to France. This animation device was one of the earliest of its kind and had been invented almost simultaneously in Belgium and Austria. Giroux & Cie. not only brought the device to the French audience but also gave it a name that would become widely recognized. Their chosen name, 'phenakistiscope', was eventually adopted in England and underwent a slight misspelling as 'phenakistoscope'.
Giroux & Cie. is also renowned for their involvement in constructing the daguerreotype cameras designed by Louis Daguerre himself. These cameras were groundbreaking as they were the world's first commercially manufactured photographic cameras. One of the mass-produced daguerreotype camera cabinets, crafted by Giroux & Cie., was even displayed at the prestigious 1839 Exposition des produits de l'industrie française held in Paris. Although the camera did not win an award, Alph. Giroux did receive a silver medal for their exquisite jewelry box.
Overall, Alph. Giroux & Cie.'s contributions to the world of technology and photography through their introduction of the Phénakisticope and involvement in manufacturing daguerreotype cameras solidify their reputation as innovators and pioneers in the industry..
Gold & Silver Pique
Pique is a captivating artistic technique that involves the skillful inlaying of gold or silver into beautiful materials like tortoiseshell, as well as occasionally ivory or mother-of-pearl. It's a remarkable way to create intricate and dazzling designs that truly catch the eye.
The Gold Pen nib is Ladd & Miller No. 3.
Seal Matrix
Finely engraved seal matrix.
Seal Matrix
Maison Alph.Giroux at 43 Boulevart des Capucines - Papeterie, Object d’Art
Giroux Travel Writing Set
1799-1820 French Penner.
Interior Label
Stylish paper label marked ALPH | GIROUX, Rue du Coq St Honoré, No. 7
Leather covered Brass
Glass inkwell, carved double-ended quill holder, and two period quills..Black paper lining.
Fox & Hens or Citadel Gameboard
Giroux Gameboard
Fox and Geese is a simple strategy game for two players, where the fox attempts to eliminate the geese, while they try to trap him. It became popular in Britain in the Medieval period, probably having evolved from earlier northern European chase games, and remained popular with the Tudors. The game originally used 15 hens and 1 fox.
By the mid-nineteenth century, this game board had morphed into Jeu d'Assaut or Jeu de la Citadelle, the game of Assault or Citadel. Played with 24 pawns of one color and 2 pawns of another color.
Multiple hardwood inlays on fine walnut,
The original Giroux & Co. label on the back.
Gameboard Closeup
Detail of the various woods and inlay method.
Giroux Gameboard Label
Maison Giroux at 7, Rue du Coq-St Honoré
Tahan - Paris
Tahan » Fournisseur de l’ Empereur » (Tahan Supplier of the Emperor)
Tahan (Pierre-Lambert Tahan and Jean-Pierre-Alexandre Tahan): 29 Rue Quincampoix, Paris – 10 Rue Basse-du-Rempart, Paris – 161 Rue Saint-Martin, Paris – 30 & 34 Rue de la Paix, Paris – 11 Boulevard des Italiens, Paris.
Business established: c.1806 – 1882.
Tahan work became renown for quality.
Napoleon 3 period. Elm burl, ebony, finely chiseled bronze inlay in the form of a small handled box, the top flaps opening to reveal pen - pencil trays and two crystal inkwells with bronze repousse caps, Additional storage is found in a drawer to the base. Tahan post 1855 label. 25 cm x 15cm x 12 cm.
Detail view of the workmanship.
Detail view of the workmanship.
A drawer in the base provides additional storage.
Opens to pen / pencil storage, inkwells and space for seals, etc.
Spinach jade letter opener. The gold & enamel embellished French pen with 18k Bramah nib clamp is from the John C. Loring collection.
John’s daughter Katherine reflected while conversing about this pen that he always had this pen displayed as one of his favorites.
Note the highly engraved hinge plates.
Auguste Klein - Vienna - Paris
Goldsmith Extraordinaire
Auguste Klein, a renowned goldsmith from Austria, established a presence in Paris during the late 1860s. One of his notable shops, located at 6, boulevard des Capucines, opened in 1869 and offered a wide selection of leather goods and bronzes. Klein catered to affluent clientele, including wealthy European and Russian collectors.
Christies Auction
Each item is 14k gold in fine condition. The motif is the French fleur de li.
The case is fine floral silk case exterior with a burgundy silk interior marked Auguste Klein, 6. Bvard Des Capucines .6, Paris.
Included is quill pen, page turner or letter slitter, quill knife, and multi-tool, The sceau or seal is missing.
Notably, the legendary Elizabeth Taylor became a collector of his exquisite pieces, which included a basket that was later sold at Christie's in 2011 during the dispersal of a portion of her collection.
Outer Case Details
The case is constructed of wood with burgundy silk interior.
The outer case is covered with the original silk brocade.
Instrument Detail
Hallmarked and finely engraved.
Instrument Detail
Hallmarked and finely engraved.
Instrument Detail
Hallmarked and finely engraved.
Austrian Kralik Inkwell
Kralik Art Glass
The Kralik glassworks, originally founded by Josef Meyr in 1815 in Bohemia, has an interesting history. Initially known as Adolfshutte, it was located in Germany but later moved to Austria during the period of the Austrian Empire. After Josef's passing, his son Jan took over and expanded the company, eventually owning four glass factories.
Following Jan's death in 1841, his nephews Josef Taschek and Wilhelm Kralik became the new owners, and the company's name was changed to J. Meyr's Neffen. After Josef's passing in 1862, the name was further modified to J. Meyr's Neffe. In 1877, Wilhelm Kralik, one of the owners, passed away and left the company to his four sons. The company then split, with Hugo and Karl using the name Meyr's Neffe, while the remaining part became Wilhelm Kralik Sohne.
In 1922, Meyr's Neffe merged with Moser, another renowned glass company. However, Wilhelm Kralik Sohne continued producing glassware until the outbreak of World War II.
Original Label
The original paper label is simply marked Austria; however, the space above may have contained additional identification information that faded.
Registration Numbers
The underside of the bronze inkwell lid contains registration numbers. The D.R.G.M. number is similar to a patent number in Austria and Germany.
Oil Drop Finish
Victorian era Kralik art glass base with a bronze top. Similar glass was produced by Loetz and in America by Tiffany and others.