傳為米切爾·雷德林及其工坊所作 德國北部，但澤市，約1680-1690年作

梅塞爾收藏（The Messel Collection），達姆施塔，德國；
家族收藏傳至路德維希與安娜·梅塞爾，Lancaster Gate 104號，倫敦，英國；
家族收藏傳至里昂納與卯德·梅塞爾，Lancaster Gate 104號，倫敦，英國，直至1953年；
家族收藏傳至羅斯伯爵夫人（Countess of Rosse）安·梅塞爾（1902-1992），比爾城堡（Birr Castle），愛爾蘭；
家族收藏傳至羅斯伯爵七世威廉·伯蘭登（William Brendan）（1936年生），比爾城堡，愛爾蘭；
自此家族收藏至今。

The condition of the casket is stable. There is dirt and wear to the surface consistent with age. Amber is a relatively fragile material and so restorations, losses and breaks are to be expected in 17th-century amber objects. Parts of the casket are well preserved, notably the main interior panel with the elaborate ivory reliefs, which is in very good condition. There is some clouding and craquelure to the amber consistent with material and age. There are some minor chips, such as to the edges. There are restored breaks running through the sides of the body of the casket and through the lid. Each of the corners of both tiers of the lid are reattached and there are restorations. There are further reattachments to the rest of the casket, including the surmounting (probably white amber) figural group. There are further restorations, notably the upper edge of the back side of the lower tier of the lid (there are further restorations to this side). There are probable restorations to the wood core and the underside is lined with paper. Some of the orbs on the lid are a little loose. There are glue residues to the surface of the casket. The two ivory panels on the top and underside of the lower tier of the lid are lost. The lock and hinges are lost and there are small drilled holes for these mounts. The draw does not appear to function. Two flame finials are lost from the underside.
"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."

根據維也納藝術歷史博物館（Kunsthistorisches Museum）現藏的一件相類匣子、以及一張十七世紀但澤（Danzig）琥珀工藝大師米切爾·雷德林（Michel Redlin）的繪圖，這個獨特精巧的琥珀匣子很有可能出自這位名匠之手。來自但澤的琥珀工藝品，即如本品，與來自柯尼斯堡（Königsberg）的較早期作品相比，一般更加精雕細琢、考究華麗；其特色是加上了象牙飾塊及多組人像，配以多塊半透明的橙色琥珀（通常為背面凹雕）、雲狀琥珀及白琥珀。 此匣子是但澤工藝的優秀代表作，尤其值得注意的是巧妙地鑲嵌於匣子內的象牙浮雕飾塊。今次拍賣的本品與另一件威尼斯琺瑯碟同樣來自梅塞爾家族收藏。這個德國猶太裔銀行世家在十九世紀末移居英國；本品傳至家族後人安·梅塞爾（Anne Messel）；她在1935年嫁給羅斯伯爵六世，成為羅斯伯爵夫人（Countess of Rosse）。梅塞爾家族的成員均擁有優秀的創造力，例如安的兄弟奧利弗（Oliver）是位著名的舞台設計師，在1950年代設計了多爾切斯特（Dorchester）酒店著名的室內裝潢。本品一直收藏於愛爾蘭一座壯麗的新哥德式建築——比爾城堡（Birr Castle）的音樂廳內，直至去年。