An Italian engraved ivory inlaid kingwood, ebony, rosewood, fruitwood and marquetry sewing box attributed to Pietro Piffetti (1770-1777), Turin circa 1735

of serpentine form with an associated velvet inset top, the exterior decorated with strapwork and acanthus opening to reveal the top with a recessed panel inlaid with a vase of flowers on an ebony ground within a foliate and ogee band the lower section fitted with three short drawers with turned ivory handles, the base decorated with a roundel centred by a stylised sunburst flanked by panels in the upper sections with a hound and the lower section a bird amongst scrolling foliage

In overall good conserved condition.The piece has been lightly cleaned and the velvet on the top replaced. Old veryminor marks, chips and hairline cracks commensurate with age and normal usage. Some very minor patches to the kingwood veneer which have been well executed and are hardly noticeable. Some cracks in the veneer above the exterior hinges and they are of different colour. There is a crack across the base internally which can easily be filled. The pegs securing the drawers internally carved in wood are probably later replacements. The underneath has been lined with later red felt and has brass studs as feet.
"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:
Roberto Antonetto, Il Mobile Piemontese nel Settecento, Vols 1, p. 225, no. 42, p. 230, no. 44 and p. 231, no. 45. 
G. Ferraris, Pietro Piffetti e gli ebanisti a Torino 1670-1830, edited by Alvar González-Palacios, Turin,1992, Umberto Allemandi, published, Cat. 54.
G. Sarti, Pietro Piffetti, Cinq meubles inédits, Catalogue no. 8-2008,

Although the present sewing box is not documented in any of the existing archives relating to Pietro Piffettti’s work, and is not signed by him, one can attribute it to the Royal cabinet-maker on a stylistical and technical ground. In particular the sophisticated inner construction of the drawers and the materials employed are similar to those on a dressing table casket signed by the same maker and dated 1738, sold in these Rooms, lot 256, 13^th June 2001, illustrated by Antonetto, op. cit., p. 230, no. 44,  now in the Raccolte Civiche in Turin.
Piffetti's work contains recurrent motifs such as acanthus leaves, small palms, arabesques and volutes(sometimes broken and interlocking with foliage shoots) and shells. Whilst the engraving on the offered lot is lost in places, the recurrent motifs are typical of Piffetti's early work. Another more elaborate dressing table casket , circa 1735-40 and inlaid with mother-of pearl aswell as ivory embellished with gilt-bronze mounts illustrated by Antonetto, op. cit., p. 231, no. 45.

The inside of the lid with the flower -filled vase can also be seen  on an inlaid panel illustrated by Antonetto, op. cit.,  p. 225, no. 42, which is signed `Piffetti f.'  The author states that that the panel is after an engraving from `Quinti Horatii Flacci Emblemata' by Otto Vaenius. That particular panel was from p. 67 of the1612 edition entitled `Amant alterna Camoenae'.

Also see an apothecary’s coffer by the same maker, with similar marquetry on the exterior, sold in these Rooms 8^th December 2004, lot 4 (£21,600).  

Pietro Piffetti, (1700-1777), Ebanista di S.M. the king of Sardinia, in 1731:
Pietro 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 13, 1731 and worked continuously for the royal court until his death. He provided works not 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.