A transparent-enamelled beaker with view of Teplitz probably Carl von Scheidt, Dresden, dated 1817

in the style of Samuel Mohn, signed, the cylindrical form painted with a view of buildings and a market square within a rectangular line panel, inscribed Teplitz below, the rim cut with a band of chevrons and part amber-stained below an amber-edged rim 

with Uwe Friedleben, Hannover, 1974

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.3

there is a sliced chip (1.2cm x 0.6cm) and three smaller chips (0.1 x 0.1) to rim
"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 signature 'C.Mohn v. S' is to be seen as a shortened title for the Mohn Workshop (see Rudolf von Strasser and Walter Spiegl, Dekoriertes Glas). Carl Moritz von Scheidt, whose dates are unknown, worked in the Dresden workshop until after the death of Samuel Mohn in 1815  and then went to Berlin where in 1825 he is recorded as a glass and porcelain decorator (M.A. Gessert, Geschichte der Glasmalerei, 1838, p.279).