A transparent-enamelled beaker with view of Dresden August Viertel and Samuel Mohn, Dresden, dated 1813

signed, the cylindrical form painted with a view of the bridge over the Elbe, beside the Hofkirche and the Brühlschen terrace, within a rectangular line panel, inscribed Dresden am 19 Marz 1813, the everted rim painted with a garland of pansies below an amber-stained band

Dietmar Zoedler, 'Vater und Sohn auf dem Weg in das Biedermeier: Samuel und Gottlob Mohn', Weltkunst, no.16, 15th August 1987, pp.2117-2118, fig.2

flat chip to the outside of rim ( 1cm x 0.6cm), otherwise in generally good condition
"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 19th March 1813 refers to the date of the destruction of the bridge over the Elbe by Marshall Louis Nicholas Davout during the retreat of the French Napoleonic forces from Dresden.

For an almost identical beaker bearing the same inscription, see Gisela Haase, Sächsisches Glas, fig.183, cat.no.307. A further similar example, dated 1813 and bearing both signatures, is in the Kunstmuseum, Düsseldorf (see catalogue, Glas, 1966, p.146, Inv. no.1940-178)

Until the well-documented departure of his son, Gottlob, to Vienna in 1811, Samuel Mohn was the sole signatory of the workshop's glass. Faced with the loss of such a major glass decorator, Samuel promoted several of his junior painters to senior positions where they were entitled to include their signatures or initials alongside that of the master. August Viertel (1790- after 1840) was one of these figures. The elder brother of Wilhelm Viertel, another painter employed by Mohn, August was to become one of the leading members of the workshop in Dresden. The last Viertel/Mohn countersignature can be found on a glass dated 1814, just a year before Samuel's death.

For an illustration of this beaker see  P. von Lichtenberg, Mohn & Kothgasser, pl. 63-64