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拍品专文
The arabesque inlay of this exquisite bowl derives from engravings by Jean Bérain (1637-1711), while the technique of inlaying tortoiseshell with mother-of-pearl, gold and silver probably originated in Naples towards the end of the 16th Century. Judging by the number of contemporary references to the Neapolitan piqué work and the surviving pieces which bear the signatures of Neapolitan craftsmen, Naples appears to have been the centre of production, certainly for those pieces made in the eighteenth Century.
There are many references to pique work in advertisements and sale catalogues of the 18th 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 to 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 (J. Flemming, Robert Adam and his Circle, London, 1962, p.157).
An elaborate pique dish with ewer, depicting similarly exotic chinoiserie scenes, is in the Victoria and Albert Museum, London (A. Gonzlez-Palacios, Il Tempio del Gusto, Milan, 1984, vol. II, p. 234, fig. 536).
There are many references to pique work in advertisements and sale catalogues of the 18th 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 to 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 (J. Flemming, Robert Adam and his Circle, London, 1962, p.157).
An elaborate pique dish with ewer, depicting similarly exotic chinoiserie scenes, is in the Victoria and Albert Museum, London (A. Gonzlez-Palacios, Il Tempio del Gusto, Milan, 1984, vol. II, p. 234, fig. 536).