The enamel scene was almost certainly painted by Pierre I Huaud; only a very few pieces signed by him are known to exist. However, the iconography and proportions of the dial, particularly the narrowness of the white enamel chapter ring, leaving a large space for the central scene, as well as the shorter, more marked Roman numerals, are characteristic of an earlier style, typical of work by Blois and Paris artists. It was a common practice in the eighteenth century to replace the movement in a particularly expensive or beautiful watch. Examples can be found in numerous museums and private collections. Jean-Claude Sabrier, in studying the records of Berthoud, found that once the horologer was given an old enameled watch with the specific request that he make a new movement for it (see The Sandberg Watch Collection, Antiquorum, Geneva, March 31 and April 1, 2001, lot 264).This proves the importance attached to early enameled cases by their owners who, as in this instance, commissioned the best workers to make a special movement so they could continue to enjoy the watch many years after it was made. We have seen magnificent Blois cases with later movements by Webster, Leroux, Pyke, Fromanteel and Berthoud. The artistry and rarity of these cases unquestionably warranted the expense of commissioning a special movement for them. The research of Jean-Claude Sabrier is of the utmost importance in putting to rest all speculations as to why later movements are so often found in these magnificent cases. Several major watchmakers, including Fromanteel, Ellicott, Berthoud, Cabrier, Jacobus Garnault, Vaucher à Paris, and John Pyke, among many others, specially made movements to fit exceptional older cases. The Van Ceulen family was known for updating seventeenth century enamel cases in this manner, particularly appreciated by the Dutch market, as lot 43 illustrates. For a biography of P. Huaud, see lot 598.