Such mirror cases were made by ivory carvers called pigniers, who specialized in them as well as combs. Among the most popular products of Gothic ivory carvers, mirrors were made in pairs so that they could be stored facing each other, to protect the polished metal surfaces, and they were often sold in leather cases. The courtly subject matter, elegant carving, and use of a luxury material such as ivory indicate that they were intended for aristocratic clients; medieval inventories confirm that these objects frequently belonged to such households.
Octave Homberg (1844–1907), Paris; J. Pierpont Morgan, London and New York (until 1917)
Koechlin, Raymond. Les Ivoires Gothiques Français: Volume II, Catalogue. Paris: Editions Auguste Picard, 1924. no. 1030 bis, pp. 377–78.
Koechlin, Raymond. Les Ivoires Gothiques Français: Volume I, Text. Paris: Editions Auguste Picard, 1924. no. 1030 bis, p. 385.
Schrader, J. L., ed. The Waning Middle Ages, an Exhibition of French and Netherlandish Art from 1350-1500: Commemorating the Fiftieth Anniversary of the Publication of "The Waning of the Middle Ages" by Johan Huizinga. Lawrence, Kans.: University of Kansas Museum of Art, 1969. no. 79, p. 68, pl. V.
Barnet, Peter, ed. Images In Ivory: Precious Objects of the Gothic Age. Detroit: Detroit Institute of Arts, 1997. p. 236.
Carns, Paula Mae. "Cutting a Fine Figure: Costume on French Gothic Ivories." Medieval Clothing and Textiles 5 (2009). p. 76 nn. 67–68, p. 90.
Adlin, Jane. "Vanities: Art of the Dressing Table." The Metropolitan Museum of Art Bulletin, n.s., 71, no. 2 (2013). pp. 4-5, fig. 3.