An Italian engraved mother-of pearl and ivory, fruitwood inlaid rosewood and marquetry frame, circle of Pietro Piffetti, Turin mid 18th century

the cresting with the Latin inscrption. 'Fides spes et  Charitas'

Old minor restorations to veneer generally. The mother-of-pearl has yellow varnish, which has been chipped in places revealing the original colour and it might benefit from having the varnish removed. There is a very minor chip to the top right corner of the stylised cornucopia with grapes at the base of the mirror. An unusual piece in overall good 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:
R. Antonetto, Minusieri ed Ebanisti del piemonte, Turin, 1985, p. 337, plate 504, for a frame by Pietro Piffettti, in the Museo Civico d'Arte Antica in Palazzo Madama.

The sinous outline of this cartouche-shaped  frame together with the engraved mother-of-pearl and ivory and fruitwood banding on a kingwood ground is very much in the manner of the celebrated Turinese ebanista Pietro Piffetti (1770-1777),  Ebanista di S.M. the king of Sardinia, in 1731.

Piffetti was indisputably the greatest Italian cabinet-maker and one of the most extraordinary virtuosi of 18^th century. His work is characterised by an extraordinary fluidity of line in combination with an unparalleled technical skill and lavish use of precious woods and exotics materials such as ivory, mother of pearl and tortoiseshell. He largely exercised his craft in Turin, having arrived there from Rome at the invitation of Charles Emanuel III, King of Sardinia. He was appointed Ebanista Reale on July 13th, 1731 and worked continuously for the royal court until his death. 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), for the Royal Princesses, for the King's youngest son, the Duca del Chiablese and for other members of the Royal family and aristocracy. Many of Piffetti's works are documented and few are signed, but archival research still remains complicated and incomplete, especially on furniture not made for the Royal family.