An important agate cup and cover with jewelled and enamelled silver-gilt and gold mounts, Jean-Valentin Morel, Paris, circa 1836-40

oval, the mottled plum, russet and tan agate bowl and cover carved in low relief with acanthus leaves, the handles formed as enamelled winged sirens with tortuously twisted fish tails, the finial formed as a Herculean putto crushing a baby dragon with a stone (now lacking), supported on a rectangular silver-gilt strapwork base applied with coloured gemstones, on enmelled masks and with enamelled turtles at the four corners, maker's mark and French post-1838 control

Probably bought from Fossin by Baron Anthony de Rothschild in 1836;
anonymous sale, Sotheby's New York, 14th June 1999, lot 29

Isabelle Lucas, 'Jean-Valentin Morel and the revival of the lapidary's art', Apollo, January 2005, pp.48/9, illustrated

One hairline crack to cover from rim to putto finial accross width. Some losses to pink enamel on figures and to enamel on borders and dragon. Light touches of restoration to dragon, turtles, corded border and leafy borders, Two small sections of leafy rim border lacking revealing pin holes. Overall an impressive and well-documented object.
"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."

Jean-Valentin Morel (1794-1860) had a long and tumultuous career in his native France and in London. Son of the Parisian lapidary Valentin Morel (1761-1834), who was of Piedmontese origin, he was apprenticed first to his father and later to the celebrated goldsmith, Adrien Vachette (1753-1839). He became independent in 1828, stating, 'I resolutely set about restoring to the profession of lapidary the importance it had acquired in the hands of the old masters.' After a brief partnership with Augustin Veyrat in 1834, until 1840 he was one of the leading craftsman in the workshop of Jules Fossin. In 1842, he entered a new partnership with Henri Duponchel. Although successful, -- their business is recorded as having employed 80 workmen -- the partnership was dissolved in a costly court case which resulted in near penury for Morel, who fled to London. He established himself at 7 New Burlington Street, trading as a goldsmith and jeweller. Former French clients, who had also emigrated to London following the 1848 Revolution, introduced him to the English aristocracy and eventually to Queen Victoria. He was appointed Goldsmith to the Crown in 1852. Yet, despite this and the considerable acclaim he garnered at the Great Exhibition of 1851, he again fell into financial difficulty and closed his business in 1852. He then returned to France, settling at Sèvres, where he made many of his best objects, including the well-known Hope Vase for which he won the Medal of Honour at the Paris Exhibition of 1855. He died in 1860, still in financial difficulty.