An italian gold piqué, mother of pearl and pewter inlaid bowl and cover, possibly by Gennaro Sarao, Neapolitan second quarter 18th century

with a domed cover with a later gilt-bronze berried foliate finial, with a brass liner, on a circular socle, the whole decorated with stylised scallopshells, baskets of flowers, scrolling foliage and fishscale motifs

In overall good conserved condition. Very minor losses to the inlay. There is a very minor restored circular break to the bottom of the bowl around which some losses to the inlay have occurred. A charming piece.
"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:
Geoffrey de Bellaigue, The James A. de Rothschild Collection at Waddesdon Manor, Furniture, Clocks and Gilt-Bronzes, London, 1974, illustrates and discusses examples of Italian piqué work pp. 832-837.
Alvar González-Palacios, Il Tempio del Gusto, Roma e Il Regno delle due Sicilie, Vol. II, Milan, 1984, Tartarugari Magnifici, Vo. II, pp. 323-325, Vol. II, pls. 528-536.

Whilst there exists several examples of piqué point caskets and inkstands it is very rare to find a bowl and cover in this technique. 

Tortoiseshell piqué work is a technique which is said to have originated in Naples at the end of the 16^th century and was later refined and developed by a Neapolitan jeweller named Laurentini in the mid 17^th century. Its popularity soon spread to Northern Europe, although Naples continued to be one of the main centres for this type of work throughout the 18^th century and several examples entered the royal collection of the Bourbons. There is a paucity of information on the subject as most of the Neapolitan archives have not survived.

There are many examples of piqué work in private collections and the popularity of piqué work can be confirmed by reference to contemporary sale catalogues and advertisements. Queen Charlotte, King George III's consort, owned a piqué snuff-box and inkstand.

The piqué posé technique consisted of softening the tortoiseshell in boiling water and olive oil and then impressing designs in mother of pearl or in strips of gold or silver. Tortoiseshell (tartuca) was a material much prized in Naples and was used also as a veneer for furniture  Piqué posé was the most sought after and expensive type of piqué work and the designs for Neapolitan pieces were inspired by Augsburg prints.

Gennaro Sarao:
He was active until 1772 and 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.