German, 12th century

with three white labels to the reverse numbered: K 490 E, S 20 and 1107 in ink, one inscribed: JULIUS BÖHLER MÜNCHEN and stamped: TOLL ...

Julius Campe, Hamburg;
with Julius Böhler, Munich;
Ernst Kofler and Marthe Truniger, Lucerne, before 1964

Zurich, Kunsthaus, Sammlung E. und M. Kofler-Truniger, Luzern, 1964, no. 683;
Aachen, Suermondt-Museum, Mittelalterliche Kunst der Sammlung Kofler-Truniger, Luzern, 1965, no. S20

A. Goldschmidt, Die Elfenbeinskulpturen aus der romanischen Zeit. XI.-XIII. Jahrhundert, Berlin, 1972, p. 50, no. 251, pl. LVII;
H. Schnitzler, F. Volbach and P. Bloch, Skulpturen. Elfenbein, Perlmutter, Stein, Holz. Europäisches Mittelalter. Sammlung E. und M. Kofler-Truniger, Lucerne/ Stuttgart, 1964, no. S20;
Sammlung E. und M. Kofler-Truniger, Luzern, exhib. cat. Kunsthaus Zurich, Zurich, 1964, p. 72, no. 693;
"Mittelalterliche Kunst der Sammlung Kofler-Truniger, Luzern", Aachener Kunstblätter, vol. 31, 1965, p. 15, no. S20, pl. 92

There is overall weathering and dryness to the surface consistent with exposure to the elements. There is wear and dirt to the surface consistent with age and handling. Some small areas have rubbed smooth and there is some stable hairline splitting consistent with material. There is a loss to the top edge.
"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."

Gaming pieces such as the present two lots were almost certainly used for backgammon, or tables. The game was popular in Northern Europe in the 11th and 12th centuries and as such several thriving centres for the production of gaming pieces, or tablemen, were established. Their designs range from simple ring-and-dot patterns to animals to the Labours of Hercules. Only around 250 pieces with figurative designs survive.

Goldschmidt (op.cit.) related the present piece to two others in St Petersburg and London, presumably on the basis of the similar palmette ornament around the edge and their chip-carved fantastical animals. 

RELATED LITERATURE
A. Goldschmidt, Die Elfenbeinskulpturen aus der romanischen Zeit. XI.-XIII. Jahrhundert, Berlin, 1972, p. 49, nos. 248-249, pl. LVII; P. Williamson, Medieval ivory carvings. Early Christian to Romanesque, cat. Victoria and Albert Museum, London, 2010, p. 415-429