The Sandberg Watch Collection

Hotel Richemond, Geneva, Mar 31, 2001

LOT 127

The Virtues of Perfect GovernanceIsâac Daniel Piguet, Geneva, No. 14, casemaker's mark coronet above M incuse, possibly Jaques Moulinie, circa 1811.Magnificent and very rare 18 ct. gold and enamel, pearl-set snuffbox with music, automaton and watch, with visible balance and concealed erotic scene.

CHF 150,000 - 200,000

USD 90,000 - 120,000

Sold: CHF 234,500

C. Five-body, rectangular, divided into three parts, central panel with rounded sides, in the centre a very fine painted enamel allegory of the virtues of perfect governance after the painter Eustache Le Sueur (1616-1655). It depicts Prudence (with the mirror), Wisdom and Virtue. It has a pearl-set border, as do the two spring-loaded panels flanking it, with the Muse of Music and the Muse of Literature painted in grisaille within navette-shaped panels surrounded by translucent blue enamel. Whenpened, they reveal respectively a watch and an automaton. The back centre panel finely painted with a harpist playing for a maiden in the woods, who motions to him to keep a secret. It opens to reveal another, more intimate, scene with a newlywed couple. The flanking and side panels are in translucent imperial blue and black enamel over engine-turning.The side panels and base panels flanking the painting are in translucent dark blue enamel over engine turning and a black painted zig-zag pattern. D. Rectangular, translucent imperial blue enamel plate with eccentric white enamel dial, Breguet numerals, outer minute divisions, at the top aperture for the balance and regulator. Blued-steel 'spade' hands. On the other side, the varicoloured gold automaton with a lady harpist playing for a gentleman beating time, while a bird flutters in its cage aove. A cat and dog observe the scene. M. Rectangular, 18.2 x 33.7 mm, gilt brass, cylindrical pillars, verge escapement, plain brass balance, flat balance spring, fusee and chain, pierced and engraved cock visible through the dial. The musical and automata movements driven by a pinned barrel playing on seven teeth, six-wheel train with last pinion as governor in eccentric bushing, the automata animated by a cam mounted on the second wheel arbor.Scratched on the back of both movements in Piguet's typical manner, 'Isâc Del Piguet à Geneve', the automaton movement stamped '14'.Dim. 88 x 55 x 19 mm. Published in the Sandberg book, page 414-415.


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Grading System
Grade:
Case: 2

Very good
Movement: 3*

Good

Overhaul recommended, at buyer's expense
Dial: 3 - 18 - 01

Notes

This box is published in 'Le Monde des Automates', Alfred Chapuis and Edouard Gelis, Paris, Volume II., page 47.The beauty and delicacy of the finely painted erotic scene puts us in mind of verses by Thomas Rowlands, a poet contemporary to the box, which could indeed have been written for it:Her heels tossed higher than her headNo more her clothes her beauties hideBut all is seen in native prideWhile Strephon kneeling smiles to seeA thing so fit for love and heHis amorous sword of pleasure drawsBlest instrument in nature's causeThe panting fair one wants its touchAnd thinks it not a bit too much.This the type of object for which Piguet was to become famous. The fact that it is signed makes it even more interesting. As a rule, makers of complicated pieces, especially those destinated for China, did not sign their work. On occasion, one finds a 'scratched' signature which, in the past was a matter of controversy between those believing that it belonged to the maker and those who believed that it was only a repairer's mark. However, the latter hypothesis is not viable since, if it were a rpairer's mark, the same signatures would be found on objects clearly from other workshops; watchmakers did not repair only their own work. But this is not the case, be it Piguet or Capt, the signature is never found on pieces which clearly could not be prescribed to them. Almost always, the 'scratched' signature is the mark of the maker. There is only one other similar box known, published in 'Le Monde des Automates', by Alfred Chapuis and Edouard Gélis, Paris, 1928, p.47.