French, 18th Century

marquetry fruitwood, boxwood, ebony, pewter, tulipwood, kingwood, ivory and pewter, the top with a tambour compartment, the interior lined with velvet and one side with a pen drawer

Generally good. The piece with old wear, marks and scratches. Superior quality. The velvet lining will be later and so to the bun feet. Minor loss to the top.
"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."

This charming travelling writing box inlaid with buildings on the frieze and on the slope, figures in a landscape with ivory heads and hands, reflects the technique employed by some French 18th century ébénistes who utilised ivory and pewter in their marquetry. One of the most the renowned proponents of this type of marquetry was André Louis Gilbert (1746-1809), received Master, in 1774, also the German born Jean-George Schlichtig, born in Germany and received Master in 1765. Related marquetry panels are found on a number of pieces stamped by ébénistes such as C. Topino, P. Roussel, P. Denizot, J. L. Cosson, D. De Loose and G. Jansen. It is possible that many were the work of specialist marqueteurs, such as Jansen, who specialised in pictorial marquetry heightened with ivory and often worked with other ébénistes like Schlichtig (F. Watson, Louis XVI Furniture, 1960, p. 120).  However, as the style of the marquetry on this piece is a little naïve, it is more than likely it was done by a craftsmen looking at the work of  these makers for inspiration.