A rock crystal tazza with enamelled gold mounts, probably French, circa 1865

the circular bowl with decorated rim overlapped by two enamelled handles formed as mythical Indonesian horned dragons with prominent breasts, the knopped stem  topped by an enamelled whorl and banded with green-enamelled leaves and black and white cable or fronds

This is a most unusual piece and the general impression given is very good. The rock crystal is in good condtion but there has been considerable reglueing of the enamel parts. It is possible therefore that some of the rock crystal parts may be replacements. A number of the leaves on the base rim are either missing or have partially lost their enamel.
"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."

This interesting tazza is unfortunately unmarked as are most objects of this type and date. Whereas the magnificent monsters forming the handles have horned dragon heads reminiscent of Javanese nagas, their bodies are indubitably European. The combination of green translucent enamelled leaves and black and white cording and leaf elements in renaissance taste can be found on the mounts of  hardstone objects created in Paris by Jean-Valentin Morel and Charles Duron (see Isabelle Lucas, ‘Jean-Valentin Morel and the revival of the lapidary’s art’, Apollo, January 2005, pp.48-53 and Howard Ricketts, Objects of Vertu, London, 1971, p. 88). These two are perhaps the best-known proponents of the style but a number of others exhibited similar objects, mainly in London in 1862 and at the Paris Exposition universelle in 1867 (see Daniel Alcouffe). Matters are further confused as many of the better-known retailers would use the same enamellers such as Lefournier or the brothers Sollier. It will only be possible to identify the artists responsible for this charming piece if a named engraving or design, so far undiscovered, has survived.