An Italian tortoiseshell, mother-of-pearl and gold piqué inlaid dish, in the manner of Gennaro Sarao, Neapolitan mid 18th century

decorated with a central cartouche depicting buildings and ruins, within scrolled and foliate borders

Colour of tortoiseshell slightly darker and less orange and much more attractive than in the catalogue photograph. Restored breaks which are only really visible when viewed from back of piece. In overall good conserved condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Comparative LIterature:
A. González-Palacios, Il Tempio del Gusto, Roma ed il Regno delle Due Sicilie, Milan, 1986, Tartarugari Magnifici, Vol.II/*, p. 233-234, where a related but much more elaborate dish is illustrated op. cit., p.234, fig. 536, (Victoria and Albert Museum, London).

Tortoiseshell piqué work is a technique which is said to have orginated in Naples at the end of the 16th century and was later refined and developed by a Neapolitan jeweller named Laurentini in the mid 17th century. Its popularity soon spread to Northern Europe although Naples continued to be one of the main centres for this type of work throughout the 18th century and several examples entered the Royal Colleciton of the Bourbons. There is a paucity of information on the subject as most of the Neapolitan archives have not survived.

The piqué posé et point technique consisted of softening the tortoiseshell in boiling water and olive oil and then impressing designes in mother-of-pearl or strips of gold or silver.  Tortoiseshell  was a material much prized in Naples and was used also as a veneer for furniture.  Piqué posé was the most sought after and expensive type of piqué work and the designs for Neapolitan pieces were inspired by Augsburg prints.

Gennaro Sarao of Naples (active until 1772) formed one of the small group of Neapolitan craftsmen working in tortoiseshell piqué, such as della Torre (Turis) and Straca, who were patronised by Carlo III and his wife Maria Amalia of Saxony, and who either signed their works or are recorded in the Dipendenza della Sommaria accounts.  Sarao's name appears three times in the Royal accounts between 1769 and 1770.  Sarao is known to have been active at least between 1731 and 1770.