The Rosalinde and Arthur Gilbert Galleries at the V&A South Kensington have recently reopened following a major refurbishment. Visitors can now explore the remarkable collection of decorative art objects assembled by the Gilberts in a larger setting that more fully reflects their richness and diversity.

The collection, which is on a long-term loan to the V&A, contains a wide range of artefacts, including numerous exquisitely crafted boxes. As a conservator from the Sculpture, Ceramics and Glass Conservation team, I have helped prepare many of these pieces for display, being especially drawn to the stories they hold, including who made them, who owned them, and how they were used.

Among the objects that captivated my attention is a small circular, gold mounted box. Evidence of its 18th-century provenance can be found on the underside of the lid, which bears an inscription in gold linking the box to John Zephaniah Holwell (1711 – 98). Holwell briefly oversaw the British colonial operations of the East India Company in Bengal. Whilst there are multiple stories to tell about this box’s history, as a Conservator, the focus of my work was to investigate how to treat and prepare the box for display.

Unlike the more luxurious boxes in the collection, this box appears unusual and modest at first glance, inviting a closer inspection of its materials and techniques. This type of box is described in French as a ‘bonbonnière’, a 20th century term that references their use as containers for small bonbons (sweets). However, in my treatment of the box, I discovered that it was used to contain something different…

Traces of dark residues which smelled of tobacco suggested that the box may once have held ‘snuff’. Consuming powdered tobacco from a snuffbox became universally popular as part of 18th-century social life. The Gilbert Collection has over 200 of these boxes, most of which are on display in the new Gilbert Galleries.  

Materials and techniques used to create the box

The bonbonnière was made between 1764 and 1765 and bears the control mark for Paris, 1762 – 68. The box is crafted from poudre d’écaille, a composite of pigments and glue that became a popular, cost-effective substitute for more precious materials, among French box makers in the late 18th century.

Tiny elements of gold and silver, cut or stamped into shape, were applied into the red composite ground. The silver wire was drawn repeatedly through a drawplate to achieve the necessary fineness and shape, was then refined, and set to the surface. The small rings were made using two thicknesses of wire – a wider outer band and a thinner inner one. When laid flat on the surface, the metal is cut to length, heated, and placed onto the ground layer so that the softened surface allows it to sink in and form a secure bond. The coiled forms were shaped using pliers and tongs.

The floral motifs decorating the box were made from gold alloyed with different metals to create colour variations. Copper was used for pink gold and silver for green gold. The gold was rolled into thin sheets, then designs were traced, cut and chased to produce their intricate details. Inside, the interior of the Gilbert Collection box is fitted with tortoiseshell made from the hawksbill sea turtle, the smallest of the sea turtle species and now critically endangered.

Condition checking the object

Before treatment, the box underwent a detailed condition assessment to understand its structural stability, surface condition, and any evidence of past interventions. This careful examination helped identify areas of damage, deterioration, and previous repairs, ensuring that the subsequent conservation work was tailored to the object’s specific needs.

In addition, previous conservation records revealed that the object had been treated in 1998, when the surface was cleaned, old stickers were removed, and a new object number was applied. A later record noted that the box was condition checked in 2008, and in 2014 the object was prepared for a loan (to LACMA). The enamel plaque at the centre of the lid had suffered significant damage over time and areas of the enamel had been lost. Detailed examination of the lid proved that the blue enamel had been applied using a ‘Basse-taille’ technique, where the enamel lies flush with the gold surface. The silver decorations applied to the surface of the box were heavily tarnished due to oxidation, and several elements of both gold and silver were missing.

The main body of the box had suffered from a degree of shrinkage, with the result that the gold mounts were uneven with distortions causing a joint on the side of the lid to open. This was possibly due to environmental fluctuations and/or adhesive failure. In addition, the gold band on the underside of the box had a loose end that had become detached from its setting. Inside, the tortoiseshell veneer showed light abrasion consistent with age and use. Examination of it under the microscope showed watermarks on the surface which appeared in faint wavy patterns, indicating that it was genuine blond tortoiseshell instead of imitation. In addition, the red background was visible through the clear tortoiseshell interior.

Conservation treatment

The tarnish on the silver and gold was reduced using a combination of materials and techniques suitable for removing the discolouration. These included the use of silicon rubber and a silver polishing cloth. The metal surfaces were then degreased with solvent (industrial methylated spirits) applied with cotton wool swabs.

An attempt was made to remove the old polishing compound from beneath the gold band with the Greek key pattern, using very small swabs dampened in water and alcohol to avoid damaging the composite. A porcupine needle allowed some of the hardened residue to be lifted without abrasion, but complete cleaning was impossible without removing the gold band, so the residue was left in place.

Treatment of the loose gold bands

The gold band on the top edge was carefully removed from its setting, and the degraded animal glue beneath it was carefully removed mechanically and with deionised water. More stubborn residues were treated with a synthetic poultice, after which the areas were rinsed and degreased.

An attempt was made to remove the old animal glue from the rim of the box where the gold band sits. Because the glue was difficult to remove and a historic paper repair lay beneath it, the area was instead reinforced with Japanese tissue. The tissue was applied with wheat starch paste, and once dry, the gold band was reattached so that the gold pins visible on the inside of the tortoiseshell box aligned precisely with their corresponding holes. Finally, the loose end of the gold decoration on the underside of the box was reattached in its original position using fish glue applied with a brush.

Conclusion

While cleaning, I remained mindful of the box’s history and avoided overcleaning (for example, by removing possible traces of tobacco). My aim was to stabilise the object so the gold bands were not lost or damaged, and to reduce tarnish, which had discoloured the metal surfaces, recognising that it will recur and may require further treatment.

In future, I hope there will be time to remove and reattach the Greek-key metal bands to further reduce residues of the old polishing compound. I also hope that future analysis of the box will clarify its precise composition and help inform future conservation and treatment decisions. Further scientific investigation may also improve our understanding of its manufacture and material properties.

I feel incredibly fortunate to have played a part in preserving this box and learning more about its history and manufacturing techniques. I can see why the Gilberts were drawn to it – it has so many stories to tell. It is also wonderful to see it on display in the gallery, and I hope visitors will appreciate it in its new setting.

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Acknowledgments

I would like to extend my sincerest thanks to all my colleagues at the V&A who helped and advised me with this project, and special thanks to the Gilbert Trust for the Arts for making this work possible.

Literature

Jewelry Concepts and Technology by Oppi Untracht, Doubleday, 1982

Metal Techniques for Craftsmen: A Basic Manual for Craftsmen on the Methods of Forming and Decorating Metals by Oppi Untracht, Doubleday, 1968

Elizabeth Parke Firestone, Her Couture Collection and Her Role as a Woman of Influence by Lois Orr, A Thesis Presented to The Graduate Faculty of The University of Akron, In Partial Fulfillment of the Requirements for the Degree Master of Arts, Lois Orr,  August, 2006

Gem and Ornamental Materials of Organic Origin by Maggie Campbell Pedersen, Elsevier Butterworth-Heinemann, 2004