An ivory mirror, third quarter 19th century

of shaped rectangular outline with oval aperture, the velvet-covered wooden frame applied overall with individual carved ivory plumes below putti and heraldic dolphins, surmounted by a stylised trophy of arms over a banner inscribed: Scotorum, ivory rim, suspension loops

Wooden frame has split in several places but has not caused damage to ivory. Coronet at centre base is chipped on left hand corner. Some discolouring to a few ivory petals.
"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."

Mirror frames such as this are traditionally ascribed to the port of Dieppe in Northern France, for several centuries a centre of ivory carving thanks to its mariner's trade with West Africa. The ivory-carving tradition was revived in the 19th century thanks to the efforts of the duchesse de Berry among others and was encouraged by the many British visitors who patronised the town. The ivory carvers specialised in jewellery, ship models and finely carved small objects such as parasol handles. They also created figures and statues of famous figures from the past, often opening to reveal a carved scene from the person’s life in triptych form. More elaborate pieces were made for display at international exhibitions and for presentation, such as the table mirror covered in delicate flowerwork carved by E. Carpentier in 1860 for Empress Eugénie, now at the musée-château de Compiègne. It is possible that the Dieppe carvers were also producing mirror frames such as the present example but they are stylistically closer to the neo-renaissance carved ivory tankards and oliphants produced in the 1870s and 80s in southern Germany.