744 lots

LOT 21

Important Modern & Vintage Timepieces Geneva, May 11, 2019

Grading System: AA

CHF 3,000 - 5000

HKD 24,000 - 40000

USD 3,000 - 5000

Brand Unsigned

Year Circa 1800-1810

Material Enamel

Dimensions 46.8 x 63.8 mm

Accessories Contemporary gold frame

Sold: CHF 6,250

 Enamel probably on gold, horizontal rectangular-shaped, cabinet miniature. Polychrome painting on enamel probably on gold, by an unidentified workshop, most probably Geneva, showing a wedding ceremony drawn from ancient history. 

LOT 22

Important Modern & Vintage Timepieces Geneva, May 11, 2019

JENK JONES

Very fine and rare, pocket watch with quarter-repeater and its matching chatelaine; the enamel attributed to the workshop of George Michael Moser; 22K yellow gold, enamel and diamonds.

Grading System: AAA

CHF 7,000 - 9000

HKD 56,000 - 72000

USD 7,000 - 9000

Brand Jenk Jones

Year Circa 1768

Movement No. 269

Calibre  13’’’, full plate, gilded brass, with fusee and chain, cylinder escapement (brass wheel), monometallic balance (polished brass) and blued steel flat hairspring, pierced and engraved gilded continental cock, diamond end-stone

Material 22K yellow gold, enamel and diamonds

Dimensions Ø 43.7 mm

Signature Movement and Dust-cap

Accessories 18K yellow gold, enamel and diamonds matching chatelaine decorated en suite

Sold: CHF 8,750

 18K yellow gold, enamel and diamonds, open-face, key-winding, round-shaped, pocket watch, with one horological complication: • Quarter-repeater on one bell (activated by depressing the pendant) Royal blue flinqué enamel (translucent enamel over guilloché engine-turning) case-back, with, in the centre, a vertical oval-shaped panel, inside a diamond-set frame, painted in grisaille, showing a neo-classical scene with two vestals preparing the statue of a satyr, because the night comes, it will revive to honour them; the painting on enamel on gold attributable to George Michael Moser (1706-1783); diamond-set bezel. The chatelaine decorated en suite (on a gilded brass base) with another neoclassical scene showing a young woman carrying a vase (probably with a love filter) surrounded by a Cupid. The bell engraved with an etching needle “Drury”. The counter-enamel dial signed and numbered “Mattheu / 101”. Moser, George Michael (1706-1783) Born in Schaffhausen (Switzerland), he studied chasing and gilding under his father Michael Moser, a coppersmith. He moved to London in 1726 and worked for John Valentine Haidt, goldsmith and watch chaser. By 1737, he was working on his own account at Craven Buildings off Drury Lane. In addition to chasing he also produced fine enamel cases of which only few are known to survive. He designed the great seal of George III and painted enamel portraits of the royal children for Queen Charlotte. In the 1740’s, Moser became a leading figure at the St. Martins Lane Academy and later, in 1769, he became the first Keeper of the Royal Academy. His repoussé watch case work is among the finest to be found. Moser continued to work at least until the late 1770’s, and was active for the Royal Academy until the end of his life. On January 30, 1783, the “Gentleman’s Magazine” reported that “He was followed to his grave in grand funeral pomp by all the capital artists, Sir Josh. Reynolds at their head as chief mourner, Sir Wm. Chambers, &c. Ten mourning coaches, besides two gentlemen’s coaches, were in the procession.”. Bibliography • Edgcumbe, Richard, The Art of the Gold Chaser in Eighteenth-Century London, London, Oxford University Press in association with the Victoria and Albert Museum, 2000, pp. 85-132. 

LOT 23

Important Modern & Vintage Timepieces Geneva, May 11, 2019

MERMOD FRÈRES

Fine, keyless-winding pocket watch with quarter-repeater by two striking Jacquemarts (Jacks); 14K pink gold

Grading System: AAA

CHF 6,000 - 8000

HKD 48,000 - 64000

USD 6,000 - 8000

Brand Mermod Freres

Year Circa 1900

Calibre  19’’’, gilded brass, straight-line lever escapement, compensated balance with gold poising screws and blued steel hairspring with terminal curve

Case No.  71 979

Material 14K pink gold

Dimensions Ø 55.3 mm

Signature Case (trademark)

 14K pink gold, hunting-cased, keyless-winding, round-shaped, pocket watch, with subsidiary seconds at 6 and one horological complications: • Quarter-repeater on two steel gongs (activated by the slide at 6 o’clock) leading the two striking Jacks The Jacquemarts (Jacks) are in the habit of Incroyables (the Incredibles) and Merveilleuses (the Marvelous); men’s and women’s costumes, fashionable during the late 1790’s and the Directoire period in France. The Incroyables (the Incredibles) and the Merveilleuses (the Marvelous) After the Thermidor, the French began to rebel against the dress styles traditionally associated with the Revolution, including the sans-culottes, cockades, and tricolour accessories and clothes, and developed new styles, more closely associated with aristocratic fashions prior to the Revolution than to more recent styles. Perhaps the most salient, and also most widely criticized, expression of such fashions was exhibited by les “Incroyables” (the Incredibles) and their female counterparts, “les Merveilleuses” (the Marvelous). The typical outfit of these new dandies consisted of a double-breasted, square jacket, similar to a redingote with cut tails, deformed vest with heavily stuffed pockets, white scarves around the neck, tight-fitting breeches with long ribbons dangling below the knees, and open, pointed flat shoes. The Merveilleuses wore Neoclassical style dresses, with high waists and open necklines, narrow skirts, and often made up of light fabrics such as muslin, to assimilate the style of the mythical females of classical antiquity; their hair was often done in a variety of styles, or covered with the different hats that were popular at the time, including bonnets, toques, turmans, and the popular cornette. Incroyables and Merveilleuses were often criticized for their love of fashion, still associated with the ills of the pre-Revolutionary monarchy, and were the subjects of a wide number of caricatures that exposed them as worthless citizens and women with loose morals. Their style, however, has come to be associated with the fashions of the Directoire and the Empire, with Empress Josephine being one of the most popular Merveilleuses before her marriage to Napoléon. Mermod Frères, Sainte-Croix The “M F / 1816” trademark with a “S” on a cross, all inside a shield, was registered in 1901. This society was created in 1856, 1840, even 1816, according to the sources. The company name is registered in 1881, as makers of watches and music boxes in Sainte-Croix (Vaud); Sainte-Croix was and is the centre of the music box industry. The company won a Third Class medal for finished watches at the National Exhibition in La Chaux-de-Fonds in 1881. They manufactured entirely by improved machinery their music boxes. The company registered the trademark “Mira” for music boxes in 1902. The company is also listed for complicated watches, repeaters and chronometers. It still exists in 1925 for horology and “talking machines”. In 1926, the name of the company became “William Mermod”. 

LOT 24

Important Modern & Vintage Timepieces Geneva, May 11, 2019

“FEATHERED HAT”, GOLD, PEARLS AND DIAMONDS

Fine and unusual, decorative “Revival” pendant-watch with its chatelaine; 18K yellow gold, enamel and diamond-set.

Grading System: AAA

CHF 5,000 - 7000

HKD 40,000 - 56000

USD 5,000 - 7000

Brand Unsigned

Year Circa 1870

Movement No.  25 775

Calibre  9’’’, rhodium-plated, with going barrel, cylinder escapement, monometallic balance and blued steel flat hairspring

Material 18K yellow gold, enamel and diamond-set

Dimensions 47.2 x 31.2 mm

Accessories 18K yellow gold, enamel and diamond-set matching chatelaine decorated en suite

Sold: CHF 7,500

 18K yellow gold, enamel and diamond-set, open-face, keyless-winding, heart-shaped, pendant-watch. Case-back decorated in the “Revival” Renaissance style, with Limoges-style enamel panels set inside diamond-set frames, showing, on the watch, a young woman wearing a feathered hat, in bust, in profile looking to the left, and, on the chatelaine, a goddess in armor, in bust, in profile looking to the left; the case is made of cloisonné enamel imitating filigree work. The case of this watch is made in techniques of rarely used decorations. This kind of case is most likely made in France by a Parisian jeweller or goldsmith at a time when young creators – like Alphone Fouquet (1828-1911), Frédéric Boucheron (1830-1902), etc. –, were enjoying great success with their “revival” designs, often incorporating fantastical and mythological creatures. 

LOT 25

Important Modern & Vintage Timepieces Geneva, May 11, 2019

NECESSAIRE DE BEAUTY, GOLD, JASPER AND ROCK CRYSTAL, ATTRIBUTED TO JAMES COX

Extremely fine and rare, nécessaire de beauté, beauty case, probably made for the Chinese market; yellow gold, blood jasper and rock crystal.

Grading System: AAA

CHF 10,000 - 20000

HKD 80,000 - 160000

USD 10,000 - 20000

Brand Unsigned

Year Circa 1760-1780

Material Yellow gold, blood jasper and rock crystal

Dimensions 96.8 x 69.5 x 53.8 mm

Sold: CHF 17,500

 Yellow gold and blood jasper, vertical rectangular-shaped, George III, necessaire de beauté, beauty case, probably made for the Chinese market, with inside: - a two-leaved ivory tablets with gold rivet, - a pencil, - a pair of scissors, - tweezers (partly broken), - an ear-spoon, - a cure-nail, - a toothpick, - a one-blade penknife, - four perfume-flasks in rock crystal with gold covers, - a compartment with rock crystal and gold cover (for the “mouches de beauté”, the artificial melanocytic nevus) -a pin cushion (to pick the “mouches”); and inside the cover, a large mirror. Cabinet in the shape of a Chippendale or Biedermeier secretary desk, mounted in a cagework of gold chases with scrolls and blood jasper panels; the lid with a concealed compartment with inside a mirror. Several nécessaire de beauté (beauty case) and nécessaire à écrire (writing case) of this form, made with moss-agate or blood-stone panels, which have characteristics close enough to allow them to be considered the products of a single workshop, are known. Several examples, some fitted with watch or musical movements, are signed by the famous James Cox of London, who often produced for the trade markets, especially for China. Museums as the Louvre in Paris, the Patek Philippe Museum in Geneva, the Museum of the Forbidden City in Beijing and others kept examples of this maker in their collection. James Cox (c.1723-1800), London Was the son of Henry Cox, a tailor. He became Free of the Clockmaker’s Company in 1745. In June 1745, he set up shop in Racquet Court, where he remained until 1756. In 1756, Cox entered into partnership with Edward Grace, moving to larger premises in Shoe Lane. However, Cox & Grace declared bankruptcy in November 1758. During the 1760s and early 1770s, Cox became famous for luxurious musical and automaton clocks and watches made of precious metals and studded with precious stones, destined particularly for the court of the Chinese Emperor. James Cox died in Watford in early 1800 and was buried in the family vault in London’s Bunhill Fields on February 26 of that year. Bibliography • Le Corbeiller, Clare, “James Cox. A biographical Review”, in The Burlington Magazine, vol. 112, June 1970, MayAugust 1970, pp. 351-358. • Smith, Roger, “James Cox (c.1723- 1800), A revised biography”, in The Burlington Magazine, June 2000. • White, Ian, English Clocks for the Eastern Markets, Great Britain, 2012, Chapters 5-7, pp. 94-207. 

LOT 26

Important Modern & Vintage Timepieces Geneva, May 11, 2019

NECESSAIRE DE BEAUTE, GOLD, CARMELIAN AND QUARTZ

Extremely fine and rare, nécessaire de beauté, beauty case; yellow gold, carnelian and smoky quartz.

Grading System: AA

CHF 7,000 - 9000

HKD 56,000 - 72000

USD 7,000 - 9000

Brand Unsigned

Year Circa 1760-1780

Material Yellow gold, carnelian and smoky quartz

Dimensions 55.4 x 49.4 x 42.5 mm

 Yellow gold and carnelian, vertical rectangular-shaped, George III, necessaire de beauté, beauty case, with inside: - a two-leaved ivory tablets (gold rivet missing), - a horn inlaid with gold ornaments one-blade penknife, - two perfume-flasks in rock crystal with gold covers, tweezers, - a gold mounted Meissen porcelain “boîte à mouches de beauté” (for the artificial melanocytic nevus) showing a shepherd in a landscape and inside the cover, a mirror. Cabinet mounted in a cage-work of gold chases with scrolls and carnelian panels; the top of the lid with Venus and Cupid 

LOT 27

Important Modern & Vintage Timepieces Geneva, May 11, 2019

Charles Cabrier

Very fine and magnificent, object-watch in the shape of an inkstand; yellow gold and black crystal agate

Grading System: AAA

CHF 7,000 - 9000

HKD 56,000 - 72000

USD 7,000 - 9000

Brand Charles Cabrier

Year Circa 1760-1770

Movement No.  7 682

Calibre  15’’’, full plate, gilded brass, with fusee and chain, verge escapement, monometallic balance (gilded brass) and blued steel flat hairspring, pierced and engraved gilded continental cock with the head of a warrior

Case No.  7 682

Material Yellow gold and black crystal agate

Dimensions 65.2 x 44.3 x 45.6 mm

Signature Dial and Movement.

Sold: CHF 31,250

 Yellow gold and black crystal agate, George III, object-watch in the shape of a concave corner square inkstand. Cabinet mounted in a cage-work of gold chases with scrolls and garland of flowers and black crystal agate panels; the top of the lid with a small nipple; the whole rests on a base formed of four sphinxes; dial with burgundy roman numbers. Museums as the Patek Philippe Museum in Geneva and the Museum of the Forbidden City in Beijing kept examples of this type of watch-object in their collection; the last proving that this type of object was also made for the Chinese market. Charles Cabrier, the father, was admitted into the Clockmakers Company in February 1697-1698 as a “Freeman” by redemption. In 1717, he took his son, Charles Cabrier Junior, as apprentice, freeing him in 1726. Baillie lists Cabrier in Lombard Street. In 1730, a Cabrier is mentioned at the Dial, Tokenhouse Yard, in the parish of St. Margaret Lothbury. Charles Cabrier Junior, became an eminent maker and in 1757 he was elected Master of the Clockmakers Company. His watches are in many museums, including the British Museum and the Guildhall Museum in London, the Metropolitan Museum of Art in New York, the Patek Philippe Museum in Geneva, etc. Both Cabriers had strong ties with continental watchmakers, among others with “Cabriere” in Amsterdam. The son of Charles Cabrier Junior, also named Charles, became an eminent watchmaker in his own right, which sometimes leads to difficulties in attribution. 

LOT 28

Important Modern & Vintage Timepieces Geneva, May 11, 2019

JEWELLERY BOX, GOLD AND MOTHER-OF-PEARL

Exceptionally fine and rare, Rococo jewellery box with Chinese-style décor; yellow gold and mother-of-pearl.

Grading System:

CHF 10,000 - 20000

HKD 80,000 - 160000

USD 10,000 - 20000

Brand Unsigned

Year Circa 1750-1760

Material 18K yellow gold and enamel

Dimensions 57 x 133 x 99 mm

 ellow gold and mother-of-pearl, cartouche-shaped, “de forme chantournée”, jewellery box with hinged lid and removable tray. Cabinet entirely engraved in taille-douce (fine-cut) with floral motifs and shells, with, on the lid, a landscape; the entire object is adorned with gold applied motifs (inlaid and riveted), with a “Chinoiserie”, Chinese-style decoration, on the lid depicting a tea ceremony. “Chinoiserie” and “décor au chinois”, Chinese-style décor It’s the European interpretation and imitation of Chinese and East Asian artistic traditions, especially in the decorative arts, garden design, architecture, literature, theatre, and music. The aesthetic of “chinoiserie” has been expressed in different ways depending on the region. Its acknowledgement derives from the current of Orientalism, which studied Far East cultures from a historical, philological, anthropological, philosophical and religious point of view. First appearing in the 17th century, this trend was popularized in the 18th century due to the rise in trade with China and East Asia. As a style, “chinoiserie” is related to the Rococo style. Both styles are characterized by exuberant decoration, asymmetry, a focus on materials, and stylized nature and subject matter that focuses on leisure and pleasure. “Chinoiserie” focuses on subjects that were thought by colonial-era Europeans to be typical of Chinese culture. 

LOT 29

Important Modern & Vintage Timepieces Geneva, May 11, 2019

INK WELLS, GOLD AND IVORY

Fine, a series of three inkwells; pink gold and ivory

Grading System: AA

CHF 4,000 - 6000

HKD 32,000 - 48000

USD 4,000 - 6000

Brand Unsigned

Year Last part of the 18th century

Material Pink gold and ivory

Dimensions 27 x 31.5 x 27.2 mm. (about; each)

Sold: CHF 4,375

 A series of three pink gold and ivory inkwells in the shape of baskets. 

LOT 30

Important Modern & Vintage Timepieces Geneva, May 11, 2019

SNUFF BOX, GOLD, PEARLS AND ENAMEL

Very fine, snuff-box; yellow gold, enamel and pearls.

Grading System: AAA

CHF 7,000 - 9000

HKD 56,000 - 72000

USD 7,000 - 9000

Brand Illegible Maker's Mark

Year Circa 1790

Material 18K yellow gold, enamel and pearls

Dimensions 30.9 x 80 x 59.9 mm.

Sold: CHF 11,875

 18K yellow gold, varicoloured gold and enamel, horizontal oval-shaped snuff-box with hinged lid; cover, base and band decorated with green flinqué enamel (translucent enamel over guilloché engine-turning) panels and varicoloured gold chiselled motifs; in the centre, a vertical oval panel painted on enamel, inside a pearl-set frame, depicting a young woman carrying a basket of flowers, surrounded by two cupids, one of whom ignites two hearts near a couple of dove. 

LOT 31

Important Modern & Vintage Timepieces Geneva, May 11, 2019

CHARLES LE BASTIER

Very fine, snuff-box; 20K yellow gold, varicoloured gold and enamel.

Grading System: AA

CHF 7,000 - 9000

HKD 56,000 - 72000

USD 7,000 - 9000

Brand Charles Le Bastier

Year Circa 1767-1768

Case No. 1 489

Material 20K yellow gold, varicoloured gold and enamel

Dimensions 37.2 x 74.5 x 53 mm

Signature Case (master’s mark “C L B”)

Sold: CHF 12,500

 Le Bastier, Charles (av.1738 – ap.1783) Charles Le Bastier est un orfèvre actif à Paris dans la seconde moitié du XVIIIe siècle ; apprenti en 1738, il est reçut maître en 1754 et est actif au moins jusqu’en 1783. Il est l’auteur de très nombreuses tabatières dont le succès lui assure de son vivant une certaine notoriété. Il sut manier avec brio et inventivité de nombreuses techniques, tels les ors de couleurs, l’émail translucide ou l’émail à motif d’agate arborisée, donnant naissance à des pièces de qualité dans le goût néo-classique. Ces œuvres sont conservées dans de très nombreuses collections publiques : Paris, Musée du Louvre, Paris, Musée Cognacq-Jay, New York, Metropolitan Museum, Londres, Royal Collection Trust Bibliographie Hibon, Marguerite, « Charles Le Bastier, orfèvre en tabatières », in L’Estampille – L’Objet d’Art, No. 435, mai 2008, pp. 52-59 

LOT 32

Important Modern & Vintage Timepieces Geneva, May 11, 2019

SNUFF BOX, GOLD AND GREEN ENAMEL

Very fine, snuff-box; 20K yellow gold and enamel.

Grading System: AA

CHF 6,000 - 8000

HKD 48,000 - 64000

USD 6,000 - 8000

Brand Illegible Maker's Mark

Year Circa 1780-1790

Material 20K yellow gold, enamel and pearls

Dimensions 33.5 x 89.7 x 45.7 mm

Signature Case (master’s mark).

 20K yellow gold and enamel, horizontal oval-shaped snuff-box with hinged lid; cover, base and band decorated with vert Trianon (green) flinqué enamel (translucent enamel over guilloché engine-turning) panels with vertical stripes décor, so-called moiré, and varicoloured gold chiselled motifs. 

LOT 33

Important Modern & Vintage Timepieces Geneva, May 11, 2019

“THE CASTLE”, SILVER AND ENAMEL SNUFF BOX

Historical snuff-box; silver and enamel. The scene shows Markree Castle as it was in the 19th century. The coat-of-arms and the motto (Deo Patrià Rege / God, Country and King) are those of the Cooper Family from Markree, near the town of Collooney, County of Sligo, province of Connacht (or Connaught), Ireland.

Grading System: AAA

CHF 4,000 - 6000

HKD 32,000 - 48000

USD 4,000 - 6000

Brand Unsigned

Year Circa 1860

Material Silver and enamel

Dimensions 19.6 x 85.1 x 49.5 mm

Silver and enamel, horizontal-shaped snuff-box with hinged lid; cover, base and band decorated with guilloché engine-turned and Royal blue enamel motifs and foliages. The oval central panel of the cover painting on enamel on silver showing the view of a castle, surrounded with the motto “Deo Patria Rege.”, and the coat-of-arms of the … Family

LOT 34

Important Modern & Vintage Timepieces Geneva, May 11, 2019

Piguet & Capt; Jean-Georges Rémond & Co; the enamel attributed to Jean-Abraham Lissignol

Extremely fine and rare, musical box; 18K yellow gold, enamel and pearls.

Grading System:

CHF 70,000 - 90000

HKD 560,000 - 720000

USD 70,000 - 90000

Brand Piguet & Capt – Jean-Georges Rémond & Co.

Model The enamel attributed to Jean-Abraham Lissignol, Geneva

Year Circa 1810

Movement No.  249 and 258

Calibre  N. 249, musical train with a melody on a large pinned drum with double reeds in parallels of 34 polished steel vibrating blades mounted in two stacks of 17; N. 258, musical train with a melody on a large pinned drum with double reeds in parallels of 42 polished steel vibrating blades mounted in two stacks of 21

Material 18K yellow gold, enamel and pearls

Dimensions 25 x 88.5 x 61.6 mm

Signature Case (master’s mark “I / G R / C” inside a horizontal lozenge; circa 1807-1815)

Sold: CHF 91,250

 18K yellow gold, enamel and pearls, musical box in the shape of a rectangular 18K yellow gold, enamel and pearls, musical box in the shape of a rectangular snuff-box with hinged lid; band and base decorated with chiselled and guilloché engine-turning panels with palmettos and a musical trophy with a lyra and trumpets; cover polychrome enamelled with a scene, inside a pearl-set frame, most probably depicting the Coronation of Homer; the painting on enamel on gold attributable to Jean-Abraham Lissignol (1749-1819), Geneva. The scene represents an old man, probably Homer unless it’s Epicurus, crowned by an angel. On his left side, a lyra and another angel serves him wine in a cup that he holds in his left hand, while with his right hand he embraces a beautiful and young woman with skirts already raised revealing alluring thighs; … after the pleasures of the spirit, the pleasures of the flesh! Inside the box, painted on enamel on gold a musical score where one can read a minuet (in C major and 3/8) in the style of Mozart or Haydn. The melody of the musical box is in F major and 6/8. Although not signed, the musical movements of this box are typical of the production of Piguet & Capt, active in Geneva, between 1802 and 1811. Henry-Daniel Capt (1773-1841) & Isaac-Daniel Piguet (1775-1841). Specialised in the production of complicated watches, musical and/ or automaton scenes incorporated into watches, snuff-boxes or objects. Among the first in Geneva to use the musical mechanism with pinned cylinder and tuned teeth comb. From 16 ventôse an X (March 7, 1802), to 1811, Henry-Daniel Capt (1773-1841) formed a partnership with IsaacDaniel Piguet (1775-1841), who was from the same village – Le Chenit – as he in the Vallée de Joux. Their signature was Piguet & Capt. In 1811, when Piguet broke off to join Philippe-Samuel Meylan (1772-1845) in a new partnership, Henry-Daniel Capt continued to work on his own. Following this separation, Capt restarted a numbering of his movements in the 300. In 1830, he went into partnership with Aubert and Son, Place Bel-Air. Their signature was “Aubert & Capt”. They were among the first Genevan makers to produce watches with chronograph. In 1844, the workshop was at 108, rue Neuve in Geneva. It was then managed by Capt’s son, Henry Capt Jr. After a short time, it moved to 85, rue de la Fusterie, and, in 1851, to 177, rue du Rhône. In 1880, the firm was bought by Gallopin and its name became “H. Capt Horloger, Maison Gallopin Successeurs”, a trademark registered on November 1, 1880, under the No. 44. This signature was only used for watches retailed in their own store, the watches supplied to other retailers being merely signed Henry Capt. Henry-Daniel Capt, along with Isaac-Daniel Piguet and Philippe-Samuel Meylan. They were the foremost makers of small musical automata in the late 18th and early 19th centuries. Most of his work is not signed, although he sometimes scratched his name on his movements. Jean-Georges Rémond, Geneva Jean-Georges Rémond (c.1746-c.1820) was active from 1783 to circa 18151820. Became Master goldsmith on December 22, 1783, and struck his first Master mark. Seven years later he appears to have formed a company: Georges Rémond & Cie, which eventually became, circa 1800, Rémond, Mercier, Lamy & Cie. During the French occupation of Switzerland by Napoléon, Jean-Georges Rémond recorded marks. In 1792, the partners Joseph Guidon, Jean-Georges Rémond, David Gide, Laurent Guisseling and Jean-Noël Lamy informally began working as Guidon, Rémond, Gide & Cie, (the company was officially registered on January 1, 1796). In 1809, the firm took on the name of Jean-Georges Rémond & Cie, and had offices both in Geneva and Hanau. The partners were JeanGeorges Rémond, Jean-Noël Lamy, Jean Boëhm (domiciled in Hanau), Denis Blondet, Laurent Guiseling, and Daniel Berton. In 1811, Jean-Georges Rémond, JeanNoël Lamy, Laurent Guiseling, Pierre Mercier and Daniel Berton formed a company known as Rémond, Lamy, Mercier & Cie. Bibliography (to understand the importance of Jean-Georges Rémond as a gold box-maker in Geneva) • Chapuisat, Edouard, Le commerce et l’industrie à Genève pendant la domination française (1789-1813), d’aprés des documents inédits, Editions A. Julien, Georg & Cie, 1908, p. 489. • Haydn, Williams, & Clarke, Julia (ed.), Enamels of the World, 1700-2000, The Khalili Collection, London, The Khalili Family Trust, 2009, pp. 292-317 (see also: http://www. khalilicollections.org). • Clarke, Julia, “Swiss gold boxes: myth or reality?”, in Murdoch, Tessa, & Zech, Heike (ed.), Going for Gold: Craftsmanship and Collecting of Gold Boxes, Brighton, Sussex Academic Press, 2014, pp. 70-71. Lissignol, Jean-Abraham Geneva, May 1749 – Geneva, Plainpalais, June 28, 1819 One of the best enamel painters of the later part of the 18th century, he was the pupil of Jean-Marc Roux and later became his partner. He specialised in decorating enamelled snuff-boxes and watch-cases, working for Jaquet-Droz, Leschot, the Rochat brothers, and John Rich... 

LOT 35

Important Modern & Vintage Timepieces Geneva, May 11, 2019

Jaquet-Droz & Leschot; Jean-Georges Rémond & Co.

Magnificent and probably unique form-watch in the shape of a scent-bottle or a Neo-classical vase, with centre-seconds and concealed singing-bird; 18K yellow gold, enamel and pearls. “L’Oiseau privé” (The Tamed Bird), after an engraving of Jean-Jacques Flipart (1719-1782) and a drawing of François Boucher (1703-1770).

Grading System:

CHF 1,000,000 - 2000000

HKD 8,000,000 - 16000000

USD 1,000,000 - 2000000

Brand Jaquet-Droz & Leschot

Year Circa 1795

Calibre  Shaped, gilded brass, full plate, cylindrical pillars, with going barrel, cylinder escapement (brass wheel), monometallic balance (gilded brass), pierced and engraved gilded English cock with diamond end-stone; on the reverse, the singing bird mechanism with fusee and chain (wound by means of a slide in the band), a large bellow and eight cams (of which two drives the bird’s movements of the beak and the tail, and, the others modulate the song of the bird by a piston controlled whistle)

Material 18K yellow gold, enamel and pearls

Dimensions 194 x 61.3 x 47.7 mm

Signature  Movement and Case (“G R / G” under a crown; 1796 / 1797-c.1800)

Accessories Modern fitted box (late-1960’s by a London antiquarian)

Sold: CHF 1,025,000

 18K yellow gold, enamel and pearls, double-face, form-watch in the shape of a scent-bottle or a Neo-classical vase, with centre-seconds and concealed singing-bird, made for the Chinese market. Body of the object in the shape of a flattened pear, adorned with azure blue and royal blue enamel panels decorated with motifs and garland of gold paillons; the winding and setting key screwed in the top of the object. When the bird’s mechanism is engaged, the rear door opens automatically and the bird begins to sing, opening and closing its beak realistically, rotating its body while its tail goes up and down; at the end of the melody, the door closes automatically  A similar form-watch in the shape of a scent-bottle or a Neo-classical vase incorporating a singing-bird is illustrated in Le Monde des Automates (1928). This object was formerly in the collection of Sir David Lionel Salomons (1851-1925) and is today kept in the L. A. Mayer Collection in Jerusalem (Israel) and illustrated in their catalogues (1980 and 2009). These objects are, at the time of their creation, mainly manufactured for the Chinese market, as evidenced by the correspondence of Jean-Frédéric Leschot (1746-1824), who is, in the years 1790-1810, the head of workshop of the house Jaquet-Droz; house founded in the Neuchâtel mountains by Pierre Jaquet-Droz (1721-1790) and his son, Henry-Louis Jaquet-Droz (1752-1791). These period letters found and today published by various authors give us some information on the chronology and realisation of these little mechanical wonders, that Jaquet Droz and Leschot develop in the years 1780-1790. Since the middle of the century, these watchmakers and mechanicians have built clocks, mechanical music, automatons and singing birds. Circa 1780, their know-how allowed them to reduce to an extreme their timepieces, music and birds, in order to incorporate them into small objects and watches. Their feat is at this time to reduce the serinette (traditional mechanical organ with flutes or pipes) and all the mechanism of the singing bird in such small dimensions. Always on the lookout for technical solutions, they (most likely Leschot) will invent the “piston coulissant” (sliding piston) that will revolutionise the field of singing birds. With this invention, they can further reduce  the size of their mechanics and especially improve the musical quality and reliability! This is one of the great innovations that contributes to the commercial development of this kind of objects, with a little later – most probably invented by Jacob Frisard (1753-1810) – the development of a mechanism to automatically raise the singing bird. Thanks to this latest invention, we see the advent of snuffboxes that replace very quickly vertical objects with singing birds (vases, flasks, scent-bottles, watches, etc.). In the present object, the door that opens automatically when the mechanism of the bird is engaged is already a clear improvement compared to previously made objects where the birds are visible. Here, for the user the effect of surprise is total, even accentuated for a person already familiar with this kind of mechanical wonders. On February 16, 1787, Leschot sent from Geneva to London two identical scent flacons, each with serinette, singing bird and watch. The bottles had been ordered by James Cox and were described and listed in the account ledger as No. 1-2 “scent flacons enamelled in blue with applied rings and flowers in pearls and rubies with sapphires, watch with the balance set with diamonds, a serinette with bird placed on a tree trunk (in a medallion), which moves its beak and tail”. The cost for the two pieces was listed as £ 235.18 (pounds sterling). The Jaquet-Droz and Leschot account books record a second similarly designed set of scent bottles sold also to James Cox, for £ 226.8 (pounds sterling); sent in England on April 26-27 of the same year. 
In 1792, Leschot writes to Duval in London: “Two pairs of mechanism for bottles with a watch, the same as those sent to you recently. I hope to succeed in adding something different, whereby the medallion, which in the previous ones remained open after the bird’s song, will close itself” … and … “these various pieces with mechanical birds embodied many trade secrets.” The letters mentioned here are part of a large body of Leschot’s correspondence preserved today. Through these letters, much insight into his business and its practices has been gained; the letters cover a range of topics from the difficulties Leschot suffered with certain personalities he encountered, to his fear of trade secrets being shared with the wrong parties. In a letter dated November 2, 1793, from Leschot to his associate Henri Maillardet in London: “My friend M. Frisard like myself thoroughly agrees with you that the smallest number of people possible should be told how these things work, apart from relatives who are close by one in the workshop and whom we can trust not to turn their knowledge to our disadvantage.” In another letter, dated February 1793, Leschot informs Louis George in Berlin: “As for the singing bird snuffbox which you have seen, this mechanical piece certainly comes from our workshop. I had the honour to inform you a few years ago that we do this sort of work putting a mechanical bird into a jewelled object such as a snuff box or scent bottle.” As can be seen from the reading of these ancient documents, the workshop Jaquet-Droz & Leschot has made a specialty of producing these singing birds in various forms, notably incorporated into watches or vertical objects (vase, flasks, etc.). Very few of these wonders have reached us. Our form-watch is probably the most impressive piece with the one from the Salomons Collection (Jerusalem, L. A. Mayer Memorial Institute for Islamic Art), by its size and the use of the sliding piston for the melody of the singing bird. The objects that technically precede these two remain nevertheless technical prowess if only by the extraordinary miniaturization of the serinette; two of them are now known. · Pully (canton de Vaud), Fondation Edouard et Maurice Sandoz. · Private Collection; Sotheby’s, New York, auction, June 11, 2015, lot 104, sold for the amount of US$ 2,530,000.- (in 1942, with A La Vielle Russie, New York; 1942-1957, with Maurice Sandoz, Switzerland (purchased from the previous for US$ 2 997.-); 1958-2015, Private American Collection). Bibliography For illustrations of the first type of the singing-bird form-watch with serinette (the one from the Sandoz collection and the one from the Sotheby’s sale): Harcourt-Smith, Simon, A catalogue of various clocks, watches, automata, and other miscellaneous objects of European workmanship dating from the XVIIIth and the early XIXth centuries, in the Palace Museum and the Wu Ying Tien, Peiping, 1933, W.Y.T, No. 653, p. 6, pl. II. Antique Automatons, New York, A La Vielle Russie, 1950, No. 162, pp. 62-64, fig. 44 (exhibition cat.). Chapuis, Alfred, & Droz, Edmond, Automata, A Historical and Technology Study, Neuchâtel, Editions du Griffon, 1958, pp. 199-200, fig. 242-243. Collection de montres et automates Maurice et Edouard M. Sandoz, Le Locle, Edition du Château des Monts, 1976. Patrizzi, Osvaldo, “The Watch Market in China”, in Arts of Asia, March-April 1980, p. 71. Pin, Bernard, Montres & Automates, La collection Maurice Sandoz – Watches & Automata, The Maurice Sandoz Collection, Pully, Fondation Edouard et Maurice Sandoz, 2010, vol. III, pp. 204-205. Guo Fu Xiang & Guan Xue Ling (transl., Mrs Xia Shen Hong), “Les collections de Jaquet-Droz au musée de la Cité interdite”, in Automates & Merveilles, Merveilleux mouvements… Surprenantes mécaniques, La Chaux-de-Fonds, Musée international d’horlogerie, Neuchâtel, Editions Alphil, 2012, pp. 45-49 (exhibition cat., April 29 – September 30). For illustrations of the second type of singing-bird form-watch with sliding piston (the one from the Salomons collection): Chapuis, Alfred, & Gélis, Edouard, Le Monde des automates. Etude historique et technique, Paris et Neuchâtel, 1928, vol. II, pp. 120-121, ill. 397 (photos communicated by Gustave Loup, Geneva). Daniels, George, & Markarian, Ohannes, Watches & Clocks in the Sir David Salomons Collection, including scientific instruments, boxes and automata, Tel Aviv – London, Sotheby Publications, Jerusalem, L. A. Mayer Memorial Institute for Islamic Art, 1980, p. 144-146, ill. 84-84a (Inv. WA 9-70). The Art of Time, The Sir David Salomons Collection of Watches and Clocks, Jerusalem, L. A. Mayer Museum for Islamic Art, 2009, pp. 68-69. Canary and mechanical birds The birds were fashioned to imitate the live canary, which had become popular in 18th century European society. The canary, beloved for its melodic sounds, became an obsession to train the canaries to sing. In this process, the serinette was a useful tool. Canaries were introduced by the Spanish (who conquered the Canary Islands in the late 15th century) to Europe. Canaries were so enthusiastically bred that 29 distinct varieties existed by the beginning of the 18th century. The process of education was described by Professor Hervieux de Chanteloup, author of the 18th century book “New Treatise of Canary Birds” and an authority on training Canaries in the 1740s. He stated, “As to the manner of proceeding, at each lesson one must repeat nine or ten times the tunes one wants to teach them; & those tunes must be played without repeating the beginning twice.”. Bibliography Kerman-Bailly, Sharon, & Bailly, Christian, Oiseaux de bonheurs, Tabatières et automates – Flights of Fancy, Mechanical Singing Birds, Geneva, Antiquorum Editions, 2001 (376 pp.), pp. 32-53 
Iconography “L’Oiseau privé” (The Tamed Bird), an etching and engraving (circa 1769) of Jean-Jacques Flipart (1719-1782), is made after a drawing of François Boucher (1703-1770), “La Jeune Fille à la colombe” (The Girl with the Dove) – or “Jeune femme à mi-corps, tenant un oiseau qui becquette sa bouche” (Young Woman, half-length, holding a bird that beaks her mouth) – of which there are several engraved variants, which are very different: “La Fille à l’oiseau” (The Girl with the Bird) of JacquesGabriel Huquier (1725-1805) and “L’Oiseau chéri” (1758; The Beloved Bird) of Jean Daullé (1703-1763). A snuffbox, of which the lid is decorated with the same subject, also painted on enamel, is kept in Paris, the Louvre Museum, Department of the Objects of Art (Inv. OA 6770). Bibliography Jean-Richard, Pierrette, Inventaire général des gravures de l’Ecole française, L’œuvre gravé de François Boucher dans la Collection Edmond de Rothschild, Paris, Musée du Louvre, Cabinet des Dessins, 1978, vol. I, p. 252, No. 1011. Jaquet-Droz & Leschot Pierre Jaquet-Droz was born on July 28, 1721, in La Chaux-deFonds (Neuchâtel mountains). He was the son of a farmer who was an occasional clockmaker as well. He studied humanities and philosophy in Basel from 1738 to 1739 and then became interested in horology. We know little of him as a person, only that he was sober, serious, taciturn, and very careful in his work. On October 25, 1750, Pierre Jaquet-Droz married Marianne Sandoz, the daughter of Civil Lieutenant Abraham-Louis Sandoz, who was later to accompany Pierre on his trip to Spain. At the age of thirty-four, Pierre Jaquet-Droz was left a widower. He never remarried, and seems to have devoted himself to his work as a watchmaker with all the more intensity. The second child of Pierre Jaquet-Droz and his wife Marianne, Henry-Louis, was born on October 13, 1752. Recognizing that he was a gifted child, his father sent him to Nancy to study music, science, mathematics, physics and drawing. In 1758, Jaquet-Droz made the long and difficult journey to Spain, to present his works to King Ferdinand VI. When he returned, the sum he brought back enabled him to devote himself to the making of the famous Jaquet-Droz automata, the writer, draughtsman, and musician, and to found the successful Jaquet-Droz firm, in London and Geneva, for the making of extraordinary mechanical and musical pieces. Upon his return in 1769, Henry-Louis took his place in his father’s workshop alongside Jean-Frédéric Leschot (1746-1824), an adoptive son. It was the beginning of a close and fruitful partnership between the three men. Pierre JaquetDroz was the first to make singing-bird boxes and enjoyed an excellent reputation for complicated clocks, Neuchâtel clocks and automaton timepieces. When Pierre Jaquet-Droz grew old, the firm was taken over by his son Henry-Louis and JeanFrédéric Leschot, under the name of Jaquet-Droz & Leschot. Pierre Jaquet-Droz died in Biel in 1790, at the age of 69. Upon his father’s retirement from the family firm, Henry-Louis naturally replaced him, traveling to London to look after business. He also maintained an active interest in the Société des Arts of Geneva, studying questions related to the well-being of the Genevan “Fabrique” and seeking solutions to problems which plagued his colleagues and fellow members. Henry-Louis’ health was poor, however. Despite a journey undertaken to improve his condition, he died in Naples in November 1791, at the early age of 41. Subsequently, Jean-Frédéric Leschot took over the company and continued to work with extraordinary craftsmen, such as Jacob Frisard (1753-1810) or the Maillardets. For a century, a very rich bibliography has allowed us to discover the life and work of these exceptional manufacturers. Bibliography Perregaux, Charles, & Perrot, F.-Louis, Les Jaquet-Droz et Leschot, Neuchâtel, Editions Attinger Frères, 1916 (X-270 pp.). Chapuis, Alfred, Histoire de la Pendulerie neuchâteloise, Paris and Neuchâtel, Editions Attinger Frères, 1917 (XII-490 pp.). Chapuis, Alfred (with the collaboration of Loup, Gustave), La montre chinoise, Relations de l’Horlogerie suisse avec la Chine, Paris and Neuchâtel, Editions Attinger Frères, 1919 (XIII-272  pp.). Chapuis, Alfred, & Gélis, Edouard, Le monde des automates, étude historique et technique, Paris and Neuchâtel, 1928, 2 vol. (XVI-352 pp. ; 358 pp.). Chapuis, Alfred, Pendules neuchâteloises, Documents nouveaux, Zürich, Editions M. S. Metz, Neuchâtel, Imprimerie Paul Attinger, 1930 (274 pp.). Chapuis, Alfred, Montres et émaux de Genève : Louis XIV, Louis XV, Louis XVI et Empire. Collection H. Wilsdorf, Lausanne, Edition du Journal d’horlogerie et de bijouterie, 1944 (238 pp.). Jaquet, Eugène, & Chapuis, Alfred (with the collaboration of Berner, G. Albert), Histoire et technique de la montre suisse de ses origines à nos jours, Basel and Olten, Editions Urs Graf, 1946 (272 pp.). Chapuis, Alfred (under the direction of), L’horlogerie, une tradition Helvétique, Neuchâtel, Les Editions de la Bourgade, 1947 (328 pp.). Chapuis, Alfred, & Droz, Edmond, Les automates, figures artificielles d’hommes et d’animaux, Histoire et technique, Neuchâtel, Editions du Griffon, Imprimerie Paul Attinger, 1949 (434 pp.). Chapuis, Alfred, Histoire de la boite à musique et de la musique mécanique, Lausanne, Edition du Journal Suisse d’Horlogerie et de Bijouterie, Scriptar S.A., 1955 (320 pp.). Saluz, Eduard C., KlangKunst, 200 Jahre Musikdosen, Solothurn / Soleure, Editions Schweizerischen Museums, 1996 (246 pp.). Kerman-Bailly, Sharon, & Bailly, Christian, Oiseaux de bonheurs, Tabatières et automates – Flights of Fancy, Mechanical Singing Birds, Geneva, Antiquorum Editions, 2001 (376 pp.). Mayson, Geoffrey T., Mechanical Singing-bird Tabatières, London, Robert Hale Editions, 2000 (256 pp.). Tellier, Arnaud, & Didier, Mélanie, Le Miroir de la séduction, Prestigieuses paires de montres « chinoises » – The Mirror of Seduction, Prestigious pairs of “Chinese” Watches, Geneva, Patek Philippe Museum Editions, 2010 (172 pp.). Automates & Merveilles, La Chaux-de-Fonds, Musée international d’horlogerie – Le Locle, Musée d’horlogerie du Château des Monts – Neuchâtel, Musée d’art et d’histoire – Neuchâtel, Editions Alphil, 2012 (exhibition cat., April 29 – September 30), 3 vol. Jean-Georges Rémond, Geneva Jean-Georges Rémond (c.1746-c.1820) was active from 1783 to circa 1815-1820. Became Master goldsmith on December 22, 1783, and struck his first Master mark. Seven years later he appears to have formed a company: Georges Rémond & Cie, which eventually became, circa 1800, Rémond, Mercier, Lamy & Cie. During the French occupation of Switzerland by Napoléon, Jean-Georges Rémond recorded marks. In 1792, the partners Joseph Guidon, Jean-Georges Rémond, David Gide, Laurent Guisseling and Jean-Noël Lamy informally began working as Guidon, Rémond, Gide & Cie, (the company was officially registered on January 1, 1796). In 1809, the firm took on the name of Jean-Georges Rémond & Cie, and had offices both in Geneva and Hanau. The partners were Jean-Georges Rémond, Jean-Noël Lamy, Jean Boëhm (domiciled in Hanau), Denis Blondet, Laurent Guiseling, and Daniel Berton. In 1811, Jean-Georges Rémond, Jean-Noël Lamy, Laurent Guiseling, Pierre Mercier and Daniel Berton formed a company known as Rémond, Lamy, Mercier & Cie. Bibliography (to understand the importance of Jean-Georges Rémond as a gold box-maker in Geneva) Chapuisat, Edouard, Le commerce et l’industrie à Genève pendant la domination française (1789-1813), d’aprés des documents inédits, Editions A. Julien, Georg & Cie, 1908, p. 489. Haydn, Williams, & Clarke, Julia (ed.), Enamels of the World, 1700-2000, The Khalili Collection, London, The Khalili Family Trust, 2009, pp. 292-317 (see also: http://www.khalilicollections. org). Clarke, Julia, “Swiss gold boxes: myth or reality?”, in Murdoch, Tessa, & Zech, Heike (ed.), Going for Gold: Craftsmanship and Collecting of Gold Boxes, Brighton, Sussex Academic Press, 2014, pp. 70-71. 

LOT 36

Important Modern & Vintage Timepieces Geneva, May 11, 2019

IWC CLASSIC 14K YELLOW GOLD BOX AND PAPER

Fine and very rare, manual winding 14k yellow gold wristwatch with pink dial.

Grading System: AA

CHF 2,000 - 4000

HKD 16,000 - 32000

USD 2,000 - 4000

Brand IWC

Model Classic

Year Circa 1948

Movement No. 11163495

Case No. 1184923

Bracelet Leather

Dimensions 35 mm

Signature  Dial, Case and Movement.

Accessories Box and papers

Sold: CHF 2,375

LOT 37

Important Modern & Vintage Timepieces Geneva, May 11, 2019

IWC “CALTRAVA TYPE” YELLOW GOLD

Fine and rare, manual winding 18k yellow gold wristwatch with silver dial and small second.

Grading System: AAA

CHF 2,000 - 4000

HKD 16,000 - 32000

USD 2,000 - 4000

Brand IWC

Model “Calatrava”

Year Circa 1937

Movement No. 940113

Calibre  83

Case No. 970561

Bracelet Leather

Dimensions 31 mm

Signature Dial, Case and Movement.

Sold: CHF 3,125

LOT 38

Important Modern & Vintage Timepieces Geneva, May 11, 2019

IWC, CAL. 88, BLACK DIAL, PINK GOLD

TO BE SOLD WITHOUT RESERVE

A very fine, attractive, manual wind, 18k pink gold wristwatch.

Grading System: AA

CHF 2,000 - 4000

HKD 16,000 - 32000

USD 2,000 - 4000

Brand IWC

Year Circa 1960

Movement No. 1147405

Calibre  88

Case No. 1204011

Bracelet Anonymous 18k pink gold riveted expandable bracelet, approx. overall length 175 mm

Dimensions 36 mm

Signature Dial, Case and Movement.

Sold: CHF 3,125

LOT 39

Important Modern & Vintage Timepieces Geneva, May 11, 2019

IWC, REF. 1818, AUTOMATIC, GOLD

TO BE SOLD WITHOUT RESERVE

A fine, self-winding, 18k yellow gold wristwatch with date

Grading System: AA

CHF 1,000 - 2000

HKD 8,000 - 16000

USD 1,000 - 2000

Brand IWC

Reference 1818

Year Circa 1960

Movement No. 2214861

Calibre  8541 B

Case No. 2214861

Dimensions 35 mm

Signature Dial, Case and Movement.

Sold: CHF 1,375

LOT 40

Important Modern & Vintage Timepieces Geneva, May 11, 2019

IWC, REF. R811, YACHT CLUB, STEEL

TO BE SOLD WITHOUT RESERVE

A fine, self-winding, stainless steel wristwatch with date.

Grading System: AA

CHF 1,000 - 2000

HKD 8,000 - 16000

USD 1,000 - 2000

Brand IWC

Model Yacht Club

Reference R811

Year Circa 1960

Calibre  8541

Case No. 1841621

Dimensions 36 mm

Signature Dial, Case and Movement.

Sold: CHF 1,000