A Mughal pietra dura marble panel, India, 17th century

decorated with three lobed medallions each containing a flowering stem composed of inlaid green glass, an orange stone and lapis lazuli

Most of original inlay missing (only about 30%), the edges abraded with few minor chip marks, some scratches to surface and patches of discoloration, some encrustation, as viewed.
"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."

The term pietra dura applies to a technique in which inlays of very hard stone are used. In India, its appearance is largely restricted to monuments built under Mughal patronage (C. Asher, Architecture of Mughal India, Cambridge, 1st edition, 1992, p.132). It is contrasted with stonework inlaid with less precious or softer stone, a technique that had been practised in India long before the time of the Mughals. The apparent innovation of pietra dura in the seventeenth century has been attributed by some, not as an evolution of indigenous techniques, but as an introduction by Italian craftsmen (E. Koch, Shah Jahan and Orpheus: The Pietra Dura Decoration and the Programme of the Throne in the Hall of Public Audiences at the Red Fort of Delhi, Graz, 1988, p.39). Black marble panels with pietra dura inlay, sent from Italy, were used in the decoration of Shah Jahan's marble throne, jharoka, in the Public Audience Hall in the Shahjahanabad fort, Delhi (ibid., p.194, and plate 119).

These panels, along with the appearance of other European motifs in other Mughal decoration, has led to the suggestion that not only panels but also Italian craftsmen came to India and instructed Indian pupils in new technique. This has been countered with the argument that, since Indian stone masonry already encompassed inlaid work, it would have been well within the grasp of local craftsmen to learn the new skills required to replicate the Italian imports. Furthermore, the availability of printed European material in India allowed these craftsmen to gain access to the designs of Western origin.