A group of eleven Italian scagliola trompe l'oeil panels within frames by Petrus Seyter (active in Rome c. 1687) and Amedeo Seyter (Active 1712-1734, Turin and Rome) first half 18th century

All in overall good condition. This is an extremely rare ensemble. (1) There is minor pitting which obscures the third number in the date. (2) Some very fine cracks as visible from photograph and minor staining and a few very minor chips. (3) With some very minor scratches and a very minor chip to top edge which is hidden by the frame. (4) Some very minor pitting to label where edge of print meets faux marble. (5) Old minor restoration to bottom right corner only visible when viewed from the back. 6) Some very miniscule chips around the edges. (7). Restored diagonal crack running from mid top to lower right corner. Minor chips around the edge especially to the bottom right corner. Very minor loss to the top right corner. (8) Some very miniscule chips around the border. Some hairline construction cracks to frame as visible from photograph. In overall good condition. (9) Some hairline cracks on top of white border of panel, as visible from photograph. In overall very good condition. (10) There is a medium sized chip to the lower right side of the border which is partially hidden by the frame. In overall very good condition. (11) Some very minor scratches and chips to the edge of the panel. Some hairline construction cracks to the frame at the corners. In overall very good condition. Measurements: panel only (1) 42cm. x 34cm.;1ft.4in., 1ft.1in., (2) 38cm. x 29cm.; 1ft.2½in., 11¼in., (3) 35.5cm. x 26cm.; 1ft.1½in., 10in., (4) 36cm x 30cm; 1ft.1¾in., 1ft. (5) 36cm. x 30cm; 1ft.1¾in., 1ft., (6) 36cm. x 25cm.; 1ft.1¾in., 9¾in., (7) 36cm. x 27cm.; 1ft.1¾in., 10½in., (8) 42.5cm x 47.5cm; 1ft.4in., 1ft.6in., (9) 47cm. x 41cm.; 1ft.6in., 1ft.3¾in., (10) 45cm. x 37cm.; 1ft.5in., 1ft.2in., (11) 45cm. x 37cm.; 1ft.5in., 1ft.2in.
"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:
Anna Maria Massinelli, Scagliola l'arte della pietra di luna, Rome, 1997, pp. 159, 101-101a, for a pair of panels, one representing il Foro di Nerva, the other a fluvial scene, p.184, no.120-120a. Also see pp.184, no.120-120a and 185-188.

Pietro and Amedeo Seyter:
The Seyter family had German origins and the first artist in the family was Daniele Seyter, born in Vienna in 1649 who died in Turin in 1705, and was known as Daniele Fiammingo (the Flemish). He had three relatives working in the scagliola medium: Pietro, Amedeo and Tarsilla Vittoria Seyter who were all active in Rome in the 18th century.

Their scagliola work is characterised by the simulation of engravings. As with scagliola panels which were made in Carpi, the Seyter brothers used only two colours, usually red with cross-hatching on a white background. Their work also simulated paper and marble by the effective use of trompe l'oeil.

Pietro (1687 Rome -?) first half 18th century:

He was Daniele's second son and as a military architect, he designed and built the fortifications of Turin. He lived in Rome and started working on drawings of fortifications under the the orders of Cardinal Gualtieri. Subsequently, he  worked for Pope Clemente XI. He made a set of fantastical views of coastal cities in pale colours, with strong silhouettes and shadows. 

Amedeo, active between 1712 and 1734 in Turin and Rome:
Amedeo was the nephew of Pietro and he worked in a similar style to that of Pietro, except that he preferred views of landscapes with rivers and also "capricci" with Roman ruins. He also sometimes incorporated amber pieces in his scagliola work.

The scagliola technique has been used since Roman times initially to imitate marble and later pietre dure. It is composed of pulverised selenite from the Appennini Mountains in Emilia and Tuscany called lapis specularis or pietre di luna which is then ground down and mixed with lime. This mixture is then placed on to a stone support and inlaid with a composition of coloured scagliola and graphite. 

Related panels by the same makers sold at auction include:
-A pair signed P.S. Ing. f and dated 1744, was sold at Christie's, London, 29th November 1990, lot 266 (£18,700).
-A related pair was sold in these Rooms, lot 16, 13th June 1997.
-Three similar panels by Amadeo Seyter were sold in these Rooms, 12th December 2001, lots 113 and 114.

See catalogue note at sothebys.com