An Italian gold piqué and mother of pearl inlaid tortoiseshell and marquetry casket attributed to Gennaro Sarao (1730-1770), Naples circa 1730-40

of rectangular form with canted corners, the top decorated with a seated figure with a spear and two hounds flanked by a reclining Chinaman, with a female figure and drapery amongst clouds with a building in the background, the sides decorated with Cupid within a scrollwork cartouche, the back with Diana amongst cherubs and clouds the whole decorated with scrolls, rocaille, scallopshells and foliage

In overall very good conserved condition. Superb quality engraving and inlay. More contrast of colours and much more attractive than in the catalogue photograph. Some miniscule losses to gold in two places around the edge which are hardly noticeable. The skirt and spear of the figure are slightly different colour gold more yellowish than the rest and maybe an old very minor restoration, as they also differ in the quality of the engraving.
"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."

For further information on this technique see the footnote to lot 8.

Gennaro Sarao (active until 1772), formed one of the small group of Neapolitan craftsmen working in tortoiseshell piqué such as della Torre (Turis) and Straca, who were patronised by Carlo III and his wife Maria Amalia of Saxony, and who either signed their works or are recorded in the Dipendenza della Sommaria accounts. Sarao's name appears three times in the Royal accounts between 1769 and 1770. Sarao is known to have been active at least between 1731 and 1770.