Netherlandish or French, circa 1520-1530

Overall the condition of the ivory is good with some wear and dirt to the surface consistent with age. There is some minor darker staining on the ivory, particularly at the side. There is some minor stable hairline splitting to one of the top corners of the comb, consistent with the material. One tooth of the fine comb has a loss, some others are slightly warped. There are a few small nicks to the frames of the scenes.
"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."

This comb is a new addition to a group of combs divided among the Victoria and Albert Museum (inv. no. 2143-1855), the Louvre (OA143), and the Museo Lázaro Galdiano (345) which is likely to have stemmed from a single workshop in France or the Southern Netherlands. Each of the combs in the museums represents the Judgement of Paris and David and Bathseba flanked by foliate motifs, cherubs and characters on pedestals. The elaborate headdresses of the women and the pleasant smiles of each of the figures compare well to the present example as well as the loose cross hatching of the background and the manner of relief carving in which the figures are partly recessed in the background.

The romantic scenes and excellent state of preservation of the combs suggest that they were not utilitarian objects but meant to serve as reminders of the power of love, beauty, and feminine virtues.

RELATED LITERATURE
P. Malgouyres, Ivoires de la Renaissance et des temps modernes, cat. Musée du Louvre, Paris, 2010, pp. 182-183, no. 125; P. Williamson and G. Davies, Medieval ivory carvings 1200-1550, cat. Victoria and Albert Museum, London, 2014, vol. II, pp. 609 and 628-629, no. 218