Sotheby's London, 8 July 2003, lot 82

General surface abrasions and wear. Losses to various layers of gilding. Front claws and end of tail have been drilled for attachment.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Representations of dragons, particularly those on the crests of helmets made for European nobility, became a common motif in 16th century armor. Among the greatest examples of the type include: the armor for Archduke Ferdinand II of Tyrol by Zarabaglia; an embossed helmet with a nearly identical dragon ascribed to a French armorer, circa 1590-1600, now in the Musée L'Armée in Paris; and a 16th century damascened helmet by Filippo Negroli, made for Francis I (see James Fergusson, Handbook Of The Arts Of The Middle Ages And Renaissance,  London, 1855, p. 366 for a print of the 3rd example).
Andrea del Verrocchio and his workshop produced a marble relief of Alexander the Great, circa 1483-85 (now in the National Gallery of Art, Washington, D.C., 1956.2.1) with a nearly identical dragon with bat wings surmounting the king's highly decorated, embossed helmet.