An enamelled rock crystal cup and cover in the form of a mythical bird, Hermann Böhm, Vienna, late 19th century

the silver-gilt mounts enamelled with masks and leafy scrollwork on a matted ground, the crystal cover and bowl realistically carved with plumage suported on enamelled legs, the oval base carved with raised scrolls, maker's mark, Austrian control mark 

one wing slightly loose at mount, small crack (2cm) on side of bowl, a larger crack to side of base, otherwise natural flaws to crystal. charming piece.
"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."

The rhetoric behind the neo-renaissance movement encouraged makers to gain inspiration from old models, rather than copy them directly, thus creating truly nineteenth century objects. As Julius Lessing (1843-1908), German art historian and the first director of the Museum of Decorative Arts in Berlin wrote in 1877: ‘They may have been right for the time for which they arose but are not right for ours’ (All that glistens.. treasures of a Victorian banker, The James Walker Oxley Bequest, Leeds, undated publication, Fig. 21). This bird cup is directly inspired by a gold and enamel-mounted rock crystal bird-shaped bowl by the workshop of the Saracchi Brothers, second half of the 16th century, now in the Museo degli Argenti, Florence. The design however could be attributed to Josef Ritter von Storck (1830-1902), professor of architecture at the Vienna Applied Art School and designer of many crystal and enamelled objects for various Vienna firms, including the glass factory of J. & L Lobmeyr.