An Italian Rococo ivory-inlaid and parquetry kingwood casket on stand attributed to Pietro Piffetti Piedmont, mid-18th century

With scattered age and construction cracks, abrasions, dents, scratches and small losses to wood. Veneer with cracks, some lifting in areas and scattered losses; most to edges and corners with the largest loss approximately 6in. in length to one corner. Scattered restorations to veneer. Lid of casket with and approximately 5in. by 3in. reveneered area to center as visible in catalogue illustration with patch to lid on reverse. Feet reveneered with remnants of ivory inlay visible where later veneer is lacking. Legs partially reveneered, most extensively to inner sides. Parquetry on back of casket now uneven, possibly due to changes in hunidity levels over time. Bottom and top edges of casket possibly originally with ivory bands. Ivory inlay with cracks, scratches, restorations, infill and losses throughout as visible in catalogue illustration. Ivory with surface dirt and fading to coloring. Hinges later, central hinge removed and now with patches to area. Similar patches to edges of sides and to edges of lid; originally most likely with track hinges. Bottom of casket and top of base with corresponding circular patches/plugs. Mounts with rubbing, oxidation and surface dirt. In overall sound condition but would benefit from expert restoration.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Works by the illustrious Italian cabinet maker Pietro Piffetti are among the rarest objects to be offered at auction. An iconic master of the eighteenth century, Piffetti is considered by many to be one of the most important craftsmen of his time. In fact, the eminent decorative arts historian Alvar González-Palacios referred to him as not only the best ébéniste of the Italian Settecento, but also to be among the greatest virtuosi of his craft Europe has ever seen. His work is characterized by an extraordinary fluidity of line in combination with an unparalleled technical skill and lavish use of precious woods and exotic materials. For his marquetry and the spectacular effects he attained, he used a variety of woods to which he added mother-of-pearl, tinted and natural ivory, and tortoiseshell. The ivory inlay on his works is often engraved with hatched shading to give added volume and create a three-dimensional effect. Piffetti’s works most often utilized the same motifs: acanthus leaves, small palmettes, beads, arabesques, volutes and stylized scalloped shells. He also composed panels representing figures or landscapes, hunting and religious scenes.

In its function, the present casket on stand appears to be a unique work by Piffetti as no comparable piece has been published or sold in the past. However, even though no comparable piece by Piffetti is known, this casket on stand fits into Piffetti’s colorful and varied oeuvre, which includes the most diverse group of works such as stands for crucifixes, boxes, commodes, center tables, inginocchiatoi, bureau cabinets and wall panelings. Although a singular example of its type, this casket on stand reflects Piffetti's virtuosic ability to combine luxurious materials with daring shapes to create a piece that is characteristic of his oeuvre in every detail. When compared to the works of his followers and contemporaries such as Luigi Prinotto, this table stands out with its extravagantly undulating lines, which add a sense of constant movement typical of Piffetti’s pieces. The feature of gracefully upcurving corners under the closely conforming top of the stand is characteristic of many of Piffetti’s most celebrated works, such as a pair of console tables with book cases in the Palazzo Reale, Turin or a pair of commodes in the James A. de Rothschild Collection at Waddesdon Manor, see Roberto Antonetto, Il Mobile Piemontese nel Settecento, Vol. I., Torino, 2010, pp. 139 and 193, respectively. With the abundant use of acanthus scrolls, the inclusion of the scalloped shell motifs and the presence of flowering scalloped rocailles, the inlay of this casket on stand is also highly comparable to the decoration of Piffetti’s other works. For similar decorative elements in various pieces see Giancarlo Ferraris, Pietro Piffetti e gli Ebanisti a Torino 1670-1838, Torino, 1992, pp. 5, 52, 57, 98 and 124. A design element that is small but apparently unique to Piffetti can also be found on this casket on stand: finely-drawn sharply angular interlaced arabesques terminating in foliate scrolls and acanthus. This motif is used on the legs of this piece and can be seen in some other works by Piffetti, namely a pair of mother-of-pearl and ivory-inlaid ebony and rosewood steps, an ivory and tortoiseshell-inlaid walnut and rosewood console table with cabinet (all three now in the Palazzo Reale in Turin), an ormolu-mounted ivory-inlaid console table, see ibid., pp. 23, 39 and 126, respectively, and a pair of commodes in the James A. de Rothschild Collection at Waddesdon Manor, see Geoffrey de Bellaigue, The James A. de Rothschild Collection at Waddesdon Manor, Vol. II, London, 1974, pp. 566-573. Even though some of Piffetti’s contemporaries and followers use similar angular arabesques, they always do so in large-format strapwork patterns and never as small-scale decorative elements. As mentioned above, Piffetti often used tinted ivory to embellish his pieces. The ivory inlay of this casket on stand has retained some of its original red coloring and is thus related to other works by the master who often employed the combination of red and black or dark blue dyes to add depth and variation to his ivory marquetry. For examples of similar bicolor ivory floral inlay by Piffetti see his celebrated slant-front bureau in a Swiss private collection, an ivory bookstand in the Museum Civico d’Arte Antica in Torino and a commode in the Fondazione Accorsi also in Turin, ibid., pp. 68-71, 138 and 139-142, respectively. An unusual feature of this casket on stand is the fine overall parquetry inlay of the reserves of the sides and the top. Piffetti is known to have made pieces with overall parquetry veneer, however they are always executed in a larger scale. As many of the abovementioned examples illustrate, the woods used in this casket on stand, ebony and kingwood, were preferred materials of Piffetti’s and further suggest that this lot was executed by him. The interior of this casket, which was probably used in a dressing room-like setting and was most likely part of the toilette, was possibly fitted with small compartments and containers, similarly to a smaller box decorated with comparable ivory inlay and signed Petrus Piffetti, fecit et Schulpi, Taurini, 1738 and sold Sotheby’s London, June 13, 2001, lot 245A.

Pietro Piffetti (1700-1777), Ebanista di S.M. the King of Sardinia in 1731

Piffetti was born in Piedmont in 1700 and trained in Rome in the 1720's, with his elder brother Francesco. In 1730, he came to the attention of the Prime Minister of Piedmont, the Marchese d'Ormea and was persuaded to return to Turin the following year and was subsequently appointed royal cabinet-maker to Carlo Emanuele III. Piffetti spent the rest of his life in Turin, except for a period in Rome in the late 1740's, and was still active in 1767, dying in 1777. He provided works not only for the King and the Queen, but also for the King's eldest son, the Duca di Savoia (1726-1796), who succeeded his father as Vittorio Amedeo III. He also delivered pieces for the Royal Princesses, for the King's youngest son, the Duca del Chiablese and for other members of the Royal family and aristocracy. He was responsible for creating whole room settings such as the library that is today in the Quirinale Palace as well as small chapels or pregadio. It is also worthwhile noting that he sometimes signed with the words sculpit next to his name which leads to the assumption that he did not regard himself purely as a cabinet-maker but also as an artist engraver. In fact, there is a sculptural quality to his scenes, which were often based upon engravings. Today, many of his works are to be found in the Stupinigi Hunting Lodge, the Fondazione Accorsi, the Palazzo Reale and Palazzo Madama, Turin, a lasting testament to his extraordinary talent and vision.