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拍品专文
The technique of inlaying tortoiseshell with mother-of-pearl, gold and silver probably originated in Naples towards the end of the 16th Century and, judging by the number of contemporary references to the Neapolitan piqué work and surviving pieces bearing the signatures of Neapolitan craftsmen, Naples appears to have remained the centre of production, certainly until the eighteenth Century.
In his catalogue of The James A. de Rothschild Collection at Waddesdon Manor: Furniture, Clocks and Gilt Bronzes, Fribourg, 1974, vol. II, p. 838, Sir Geoffrey de Bellaigue refers to the collection of 'picay' work formed by Queen Charlotte, consort of King George III: this included an inkstand and two snuff-boxes that were later sold at Christie's, London, 18 May 1819, lot 30, 25 May 1819, lot 67 and 26 May 1819, lot 17. Similarly, Robert Adam is recorded as having bought three 'very handsome snuff-boxes of yellow and black tortoiseshell studded with gold....on a visit to Naples in 1755' (see J. Flemming, Robert Adam and his Circle, London, 1962, p.157).
An elaborate pique dish with ewer, depicting similarly exotic scenes, is in the Victoria and Albert Museum, London (ill. A. Gonzlez-Palacios, Il Tempio del Gusto, Milan, 1984, vol. II, p. 234, fig. 536).
In his catalogue of The James A. de Rothschild Collection at Waddesdon Manor: Furniture, Clocks and Gilt Bronzes, Fribourg, 1974, vol. II, p. 838, Sir Geoffrey de Bellaigue refers to the collection of 'picay' work formed by Queen Charlotte, consort of King George III: this included an inkstand and two snuff-boxes that were later sold at Christie's, London, 18 May 1819, lot 30, 25 May 1819, lot 67 and 26 May 1819, lot 17. Similarly, Robert Adam is recorded as having bought three 'very handsome snuff-boxes of yellow and black tortoiseshell studded with gold....on a visit to Naples in 1755' (see J. Flemming, Robert Adam and his Circle, London, 1962, p.157).
An elaborate pique dish with ewer, depicting similarly exotic scenes, is in the Victoria and Albert Museum, London (ill. A. Gonzlez-Palacios, Il Tempio del Gusto, Milan, 1984, vol. II, p. 234, fig. 536).