Antique Étuis

A gentleman's étui, made in England ca. 1700.
Tortoise shell with silver mounts in the form of a knife box, and including a
salts flacon, knife, ivory tablet, toothpick, pencil, and a combination snuff spoon
and ear wax spoon. Image courtesy 1stdibs.com.

You might have guessed by now that I am endlessly fascinated by beautiful antiques, especially those that fall under the heading of objects of vertu, and personal objects. These intimately scaled masterworks tell a story, not only of the talented artists and craftspeople who created them, but of the culture, priorities, and daily lives of the people who used them. Among the most exquisite of this class of objects is the étui,-nécessaire, a type of small case containing miniature implements used to complete a variety of everyday tasks. 

An agate and gold etui set with diamonds and an emerald, English, ca. 1710.
Includes scissors, bodkin, fruit knife and combination pen and pencil.
From the Victoria and Albert Museum Collections.

For more than 300 years preceding WWI, the étui in evolving forms was commonly used throughout Europe and later in North America. Tools for women might include scissors, needles, pencils, ivory writing leaves and small knives. The étui could be designed to be displayed on a desk, or carried in a pocket or purse. 

A desktop necessaire, of agate and gold, English, 1766.
Includes 5 bottles, pencil, ivory tablet, scissors, mirror, comb, brush, toothpick, tongue scraper, bodkin,
ear wax spoon, and a combination file and tweezers.
From the V&A Collections.

It  was also common for a lady to wear her étui suspended from a chatelaine, a decorative belt hook worn at the waist. Her snuff box and watch would be suspended from separate chains on the chatelaine.  Men carried étuis, but for them, the slightly larger case might include a watch, keys and a seal. For both men and women, these miniature tool kits are usually made with precious materials, are richly ornamented and often whimsical, as befitting such personal pieces. 

A shagreen etui with steel tools, 18th C French.
Includes a compass, corkscrew, spoon, tweezers, scissors, and an ivory aide memoir.
Image courtesy of David Stanley Auctions.

I suppose one could argue that today's technologically elegant smart phones with all of their built-in tools are the modern version of the old étui. Just like their antique predecessors, these modern tools tell a story about our culture's priorities and our daily lives. Although I enjoy my iPhone as much as the next person, I'm not sure that I am as charmed by the new story as much as the old!

A tiny étui encased in a walnut with silver metal fittings.
Includes scissors, thimble, needle, pin case, and stiletto.
Image courtesy of Richard Gardner Antiques.

Objects of Vertu, No. 1: Universe in a Box

Astronomical Compendium by Christopher Schissler, 1561
from the collections of the Victoria and Albert Museum
Leather case dimensions: approx. 9cm diameter, 2.4 cm tall

 

Today we begin a series on objects of vertu, the very finest pieces in decorative arts history. The object of our affection today is a fantastic Astronomical Compendium made by Christopher Schissler in 1561, signed on the outside wall:  'CHRISTOPHORVS SCHISSLER FACIEBAT AVGVSTA VINDELICORVM ANNO DOMINI 1561' (Christopher Schissler made this in Augsburg in the year 1561). This compendium is part of the permanent collection (medieval and renaissance) of the Victoria and Albert Museum. Schissler was born in 1531 and set up his own workshops in Augsburg in the 1550s.

According to the V&A: "This compendium was made by one of the most celebrated scientific instrument makers of the 16th century. Christopher Schissler's workshop was famous in his own time. He supplied precision instruments of exquisite quality including globes, astrolabes, sundials, armillary spheres, astronomical compendia and surveying and drawing equipment. Schissler's clientele was international. Many of his dials are laid out for English or Italian latitudes. In 1571 Schissler travelled to the Dresden court of August I, the Elector of Saxony, in order to set up and demonstrate his instruments. He also visited in 1583 the court of Emperor Rudolf II in Prague who was well-known for his fascination with clocks. Instrument makers had to be excellent mathematicians, artists, engravers and metalworkers."


A view of the compendium with one of the leaves open

From the V&A Collections Catalog:

 

"Pocket-size astronomical compendia were produced in Augsburg and Nuremberg, southern Germany, from the early 16th century by specialist instrument makers. This one contains the universe in a box! Provided its owner had a basic understanding of mathematics, astronomy, astrology and geography, he or she could use the various dials, tables and maps to plan journeys, predict the time of sunset in many towns in Europe (very useful when travelling), make astrological predictions, measure the heights of stars and configure the positioning of the stars for any time in the past or future.

Instruments were also made as treasury items. By the 1560s, it was fashionable for wealthy gentlemen to have a sound understanding of all branches of learning, from arts and literature to mathematics and the natural sciences. This compendium was not simply a functional timepiece but also a work of art, bought for its craftsmanship and ingenuity. Astronomical compendia were housed alongside automatons, clocks and astrolabes in Scientifica, collections celebrating human ability to control nature. They were designed to impress as well as educate."



A view of the closed compendium

Again, from the V&A's detailed descriptions, we can see just what went into this masterpiece of metalwork and engineering. (At the risk of providing too much information, I include the following to illustrate Schissler's enormous astronomical and mathematical knowledge and skill as a craftsman--all packed tightly into this beautiful piece...)

 

"It has hinged leaves at top and bottom creating 6 surfaces for dials and maps:
Top leaf:
(a) Quadrant for measuring angles and heights with alidade, or revolving index carrying the sights and showing the degrees cut off on the arc of the instrument. The quadrant is surrounded by engraved moresques filled with a black lac.
(b) Map covering much of modern Germany extending west as far as Brussels in Belgium, North to Lubeck, south to Lucerne in Switzerland and east to Krakow in Poland. The place names are orientated so that south is at the top of the map.
Body section:
(a) Sundial for five latitudes with compass in the centre.
(b) Table of latitudes for various places shown on the map and spring drum to hold gnomon taut.
Bottom leaf:
(a) Conversion table for 'equal' and planetary hours.
(b) Various chronomatic tables including one giving phases of the moon according to age.
[Case] Circular red leather case with stamped and gilt decoration of symmetrical flowers and stems. Inside the case are 2 compartments for the weather vane and the tripod plummet stand. On the side is a hinge for lid (the lid has become separated).
[Lid] Circular red leather lid with stamped and gilt decoration of symmetrical flowers and stems. On the side is a loop for the clip on the base (the base has become separated).
[Plummet Stand for Compendium] Tripod plummet stand for astronomical compendium, copper-gilt, engraved with moresques and hinged at top and bottom.
[Weather Vane for Compendium] Weather vane for astronomical compendium, copper-gilt, cast with baluster stem and swivelling top"


A view of the closed compendium and box

Objects of vertu are among the greatest achievements in the decorative arts. Sadly, the they are in our past--time means something different now, and the time necessary to devote one's life to acquiring the skills and patience to create these masterpieces is gone. They belong to a time when human labor and the human experience of time was different to our own. We are now devoted to mastery of a different sort, but whether one could characterize this shift as an evolutionary one remains to be seen: I adore the "Sky View" app on my iPhone, but I am convinced that the lucky owner of this astronomical compendium had a much deeper understanding of the workings of the night sky than I could ever hope to glean from my modern tool.

 

I find this type of object so appealing not only because of its physical virtuosity, but for its connection to extraordinary people who endeavored to continually educate themselves, to understand their place in the world and, indeed, the universe. With all of the extraordinary gadgets contained within this piece, the most miraculous is the romantic humming memory of happy hours spent by its maker on the one hand, its owner on the other, each one deeply engaged with the movements of the earth, the moon and the stars in the sky. With ancestors such as these, perhaps there's hope for us yet.