The Arts and Crafts movement has its roots in the second half of the 19th century, emerging out of a rapidly industrialising Britain. Its proponents placed a renewed focus on the materials and techniques of artisanal crafts. They sought to reunify art and craft, breaking down the division that elevated fine art over the decorative arts. Education was central to the Arts and Crafts vision for a better society, with schools, evening classes and apprenticeships enabling working-class people to improve their practical skills. In a society where women were often disadvantaged, Arts and Crafts activities allowed many to learn skills they had previously been denied. Barred from trades and the apprenticeships required to learn them, women were now able to learn a craft within the newly established arts institutes, affording them the expressive freedom and enjoyment of creative pursuits outside the home. Furthermore, craft skills provided the elusive opportunity to gain financial independence and achieve accomplishments under their own name.

Florence Sibun Hornblower (1872-1961) made this casket while a student at one such arts institute: Camberwell School of Arts and Crafts (now Camberwell College of Arts), which opened in London in 1898. In 1903, the National Competition of Schools of Art, Evening Schools and Day Classes awarded Florence the National Book Prize in the Leather Work category "for her designs for a casket, card-case, and needle-work case, in leather". In 1904, the National Competition awarded Florence another National Book Prize for her design for a Bible cover, and a Silver Medal for her "design for a lady's work-box, with specimen in material", stating "A Silver Medal is awarded to Florence Hornblower, of Camberwell School of Art, for a suitably-designed and tastefully executed Lady's Workbox in cut and embossed leather." In 1904, the Building News reported on Camberwell Schools' annual exhibition of student work, commending Florence for the 'free treatment' of her handwoven tapestry, revealing that her skills extended beyond leather and woodwork. By 1905, Florence was herself teaching leatherwork at Camberwell School of Art. In 1920, Florence published the book Ancient Egyptian, Assyrian, and Persian costumes and decorations with fellow craftswoman Mary Galway Houston. In the introduction, Florence is credited with drawng the book's illustrations.

The casket has a Medieval themed design typical of the Arts and Crafts movement, which romanticised pre-industrial life and its aesthetics. The casket's various scenes depict the story of Tristan and Iseult (known by other spellings, including Tristran and Isolde, and, as here, Tristram and Iseult), a medieval chivalric romance that can be traced back to the 12th century. Interest in Arthurian literature was revived in the 19th century, and in 1852 poet Matthew Arnold published his poetical work Tristram and Iseult, a retelling of the original romance. The following decade artist Dante Gabriel Rossetti also produced a piece of work based on the legend of Tristran - again favouring the Tristram spelling - with his painting Sir Tristram and La Belle Yseult Drinking the Love Potion.