德國北部，應為但澤市，約1690年作

應為諾森伯蘭第一代公爵休（Hugh，1712-1786年）或諾森伯蘭第一代公爵夫人伊麗莎白（1716-1776年），諾森伯蘭公館，倫敦；
諾森伯蘭公爵五世喬治·佩西（1778-1867），塞恩別墅，米德爾塞克斯；
自此家族收藏。

London, Northumberland House, until 1866;
Middlesex, Syon House, 1866-2014

Probably Inventory of Northumberland House, 1786, p. 23 (Museum Room), 'An antique Ornament of Amber and Ivory in a Case - 5 - ', (The Archives of the Duke of Northumberland at Alnwick Castle Sy.H.VI.2.d);
Account of Morel & Hughes for work at Northumberland House, dated 30 June 1824, p.14, (under ‘Sundry Rooms’), 'To repairing and cleaning an antique carved ivory dressing glass stand, restoring the colours of the ivory, and ornamenting with large and small pieces of different kinds of amber 24-15-' and 'To a mahogany box to receive the foregoing stand, made to the same shape & opening in 2 parts, lined with Mazarine blue silk velvet  6-18-' (Alnwick Sy.U.I.64(1) )

Overall the condition of the mirror is good considering the age of the object and the relative fragility of amber as a material. Most amber objects have restorations or losses. There is general dirt and wear to the surface consistent with age. Several small pieces of amber are lost, notably at: the base; the top and bottom sections of the frame at the front; the top section of the frame at the back; and there are a few small losses to the wedding scene. There is some clouding and craquelure to the amber consistent with the material. There are also some small chips and abrasions. The bottom section of the frame at the back has amber arranged in a 'crazed' pattern: this may be a 19th-century restoration, though it certainly is intentional. There is some stable splitting to the amber in areas, in particular to some of the panels in the wedding scene. There are some small losses to the ivory, including to the left foliate panel at the back, and Orpheus' proper left index finger is lost. The mirror is composed in sections and naturally joints are visible. Some pieces of amber and ivory are reattached. A few pieces could potentially be replaced: possibly the lower ivory flowers at the front and Orpheus' lyre. There is minor stable splitting to the ivory. There are a few very small losses to the ivory, such as to the caryatid panels. The top right divider panel of the mirror frame is lost. The mirrored glass is probably 19th century and has mild mercury degradation. There is general wear to the case.
"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."

在十七世紀末至十八世紀初，德國但澤（現今為波蘭格但斯克）以頂尖工藝而聞名，此琥珀及象牙鏡子正是當中的佼佼者，非常罕見珍貴。此鏡雕工精良，而且尺寸非同一般，顯示它出自一名琥珀雕刻大師之手；其設計及概念則切合十七世紀後期風格。琥珀在當時被稱為 「波羅的海黃金」，產量不多，價值殊高。一直以來它都是奢侈昂貴的飾品，只有財力雄厚的歐洲皇室貴族才可擁有。琥珀是脆弱的有機化石，因此琥珀工藝品存世量稀少。當時歐洲各國皇室喜用琥珀工藝品為互相交換的外交禮物，其中最赫赫有名的莫過於普魯士國王腓特烈一世贈予俄國沙皇彼得一世的琥珀宮（Amber Room），可惜此巧奪天工的壯麗大殿在二戰期間竟告失踪，至今踪跡無尋。在各種琥珀工藝品之中，此琥珀鏡子甚為罕有獨特，可能是定製的結婚禮物。鏡子背面的婚禮場景應該是一幅雙人肖像，是為慶賀新郎和新娘的結合，兩位新人的家境亦相當富裕。