Dennis Champion, Paris, recorded as working in 1643 and possibly previously established at Blois circa 1635. Watchmaker to the Duke and Duchess d'Orleans in 1669. Died 1706. The quality of enamel work on this case is quite exceptional, and the style of painting is attributable to Robert Vauquer of Blois. Born in Blois in 1625, he came from a family of watchmakers, goldsmiths, engravers and enamellers. He was apprenticed to Christophe Morlière, the renowned enameller, who \vas himself a strident under Toutin. Vauquer, along with Henri Toutin, is considered by many to have been the most accomplished painter of his age. He died at the relatively young age of 45 years, and was buried at the church of Saint-Honoré in Blois on the 3rd October 1670. to be continued 48 24 The subject treated on the case represents four scenes from the Aethiopica of Helidor of Emesa. They are taken directly from a series of roundels painted on copper and attributed to Charles Poerson (1609 - 1667 ), each approximately 20. 5cm. in diameter, which are preserved in the Louvre and the Leegenhoek-Serre Collection (in the latter, the mythological subject is incorrectly ascribed). Following the course of the story the scenes are as follows: Front cover (interior): Theagène receives the flaming torch from the hand of Chariclée. Front cover (exterior): The Abduction of Chariclée by Theagène (painting in the Louvre RF 1974, 16). Back of case (interior): Queen Persina of Ethiopa recognises Chariclée as her daughter. Back of case (exterior): The trial of Theagène and Chariclée before the King and Queen of Ethiopa. Dial : Cupid proving his arrow (from another source). Band of case: Four gold framed vignettes depicting figures in a landscape, each separated by a floral motif. Similar watches are preserved in the Louvre, Paris, Inv. No.OA 8318, and the Rijksmuseum, Amsterdam Inv. No.15.074. The British Museum, London is also in possession of a watch case, now converted into a snuff box, with the same subject, Inv. No. HG774. It is clear from the remarkable sophistication of the enamel painting that the artist \vas in a position to work from the original paintings, and not from engravings, as \vas usual. We gratefully acknowledge the assistance provided by Mr Hans Boeckh, Dr.of Letters, in the preparation of this and other catalogue entries. Dr. Boeckh is in the process of completing a study of pictorial sources as applied to enamel painting in the 17th century, sponsored by Le Fond National Suisse.