An Italian engraved horn inlaid ebony writing slope, Neapolitan first half 17th century

in the manner of Iacopo Fiamengo, the  top centred by a rectangular panel depicting the Adoration of the Magi flanked by various roundels depicting saints and religious scenes within scrolling foliage with ribbon-tied fruiting swags at each corner, the frieze with panels depicting a boar and a hound flanking the coat of arms probably those of Rucellai of Florence, the reverse with tablets depicting various Biblical scenes, on flattened bun feet

Some minor repair to the horn inlay, especially amongst the scrolling foliage section. Some hairline cracks generally commensurate with age, some of which have been restored in the past. Some old minor restorations generally. The ebonised banding around the base is possibly later. Charming detail to engraving. A small section chipped off to the border of rear right corner, which has been touched up. The veneer on the reverse rather faded and would benefit from a repolish according to taste. 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.G. Palacios, Il Tempio del Gusto, Roma e il regno delle due Sicilie, Vol I-II, Milan, 1986, pp.184-192.
Ed. Christopher Wilk, Western Furniture 1350 to the present day in the Victoria and Albert Museum, London, 1996, pp. 50-51 (inv. W.36-1981).
This writing slope is typical of the ebony veneered furniture embellished with engraved ivory or bone plaques which emanated from Naples and Spain from the mid 1590's until the 1640's.  Examples of Neapolitan pieces in this technique in ebony inlaid with engraved ivory panels are illustrated by Palacios, op. cit., pp. 184-192.
The only known Neapolitan cabinet-maker of this period working in this style, who has been identified to date is Iacoppo Fiamengo (active 1594-1602), who originated from Flanders. The ivory plaques which covered the surfaces of this type of ebony and ivory furniture were executed by specialists in Naples, some Neapolitan and others from Northern Europe such as Petrus Pax, a German engraver. Other recorded signed pieces are by Gennaro Picicato and Jacopo de Curtis.
Naples was under Spanish rule in the early 17th century and after annexing Portugal in 1589, Spain, according to Wilk, op. cit., p. 50, secured the monopoly of importing from Goa ebony and ivory, both highly prized materials. Ivory engraving became a speciality in Naples, however, during this period Spanish cabinet-makers also executed similar pieces.