This box displays too many characteristics of the work of Bruguier for any doubt to subsist as to its attribution. The piece is exceptional and probably unique - no other singing bird piece of this form and conception is known. It must have been produced for a special occasion. The only box like it, no doubt this one, was shown by the Bautte firm at the 1851 Universal Exhibition in London. The Official Catalogue of the Exhibition lists it: ?Presse-papier, in gold-enamelled rococo style; the base ornamented with painted views. Groups of flowers, painted in enamel upon gold, with a mechanical singing bird.? The reports of the Exhibition go to greater length: ?a gold paper-weight, the base ornamented with scenery painted in enamel. From this a stem ascends and is surmounted by a small casket which opens and closes automatically. When the cover is opened a most beautiful and perfect little bird is revealed, which seems to sing, while at the same time fluttering its tiny wings and twirling about in all directions?. Elie-Francois Wartmann in his Notice historique sur les inventions et les perfectionnements faits à Genève, 1873 wrote: ?It is thanks to the collaboration of these distinguished artists that at the 1851 Exhibition, the house of Jean-François Bautte of Geneva received a Prize Medal and an Honorable Mention for a gold paperweight ornamented with enamel painting, which was crowned by a stem on which was perched a winged songster? Mr David-Auguste Golay-Leresche also showed true marvels in the same genre, made by MM. Bruguier?. The greatest attention possible was paid to the details, as was usual for pieces destined for a Universal Exhibition, for these were the most important international showcases of their time. Charles-Abraham Bruguier senior (1788-1862) Born on January 5, 1788, in Geneva, he was the son of a clockmaker and became a clockmaker himself. In 1815, Charles-Abraham Bruguier and his family went to London, where they lived for several years. Two other children were born in London: Charles-Abraham in 1818, and Louise in 1821. The Bruguier family returned to Switzerland around 1823. Judith, their fourth child, was born in Geneva in 1825. It is apparently only after the return to Geneva, where they first settled in the rue de Coutance 87, that is, after 1823, that Charles-Abraham first began making singing birds. Between 1833 and 1837, Bruguier traveled again, this time to the town of Sainte-Suzanne near Montbéliard in France, to work in the Paur music-box factory (which afterwards became the L?Epée factory). This explains the existence of music boxes with the Bruguier signature. It would seem that Charles-Abraham junior, perhaps then already serving his apprenticeship, did not accompany the family, for he is not mentioned in the passport application, which says only ?destination Montbéliard, with his wife and three daughters?. In 1837, the Bruguier family returned once again to Geneva, living first in the rue du Cendrier 121 bis and moving the following year to rue Coutance 75. After 1843, Bruguier senior, having acquired property in Grand-Pré (north of Geneva), transferred his workshop there. Charles Abraham Bruguier senior died in June 1862, at 74 years of age. The elder Bruguier is known for his bird boxes, but he made other kinds of pieces as well, even quite unusual ones such as these cited by his grandson Jacques-Alexandre: ?a clock surmounted by a vase, in the center of which a rose opens up on the hour. Out of this rose comes a hummingbird which sings and flies back to where it came from, whereupon the rose closes up again.? Or, ?a flute player leaning against a tree. He plays, every movement of his fingers corresponding to a note. A small bird appears and sings, and the man puts down his flute and turns his head to listen. A cat suddenly appears and pounces on the bird just as it finishes its song, but the bird disappears and the man begins playing again.? Charles-Abraham Bruguier junior (1818-1891) Charles-Abraham Bruguier the younger, born in London in 1818, married Adèle-Albertine Gerbel on December 24, 1842. The marriage certificate names him as a maker of music boxes, and his bride as a checker of musical pieces. Bruguier junior is listed for the first time in the 1843 census as having a workshop independent of his father?s, at Terreaux de Chantepoulet 41. He described himself as a mechanic and head of his workshop. Some time later, he had moved to rue Rousseau, 42. In 1862, an advertisement places him in the rue Sismondi, 97, and in 1866, in the rue des Pâquis, 5, where he remained until at least 1889. Afterward, Bruguier the younger moved to Plainpalais, where he died on July 17, 1891. Jean-François Bautte was born on March 26, 1772 in a family of simple labourers and was orphaned at the early age. He was apprenticed at twelve successively learning the crafts of case-maker, engine-turner, watchmaker, jeweller and gem-setter. He was barely nineteen years old when he put his name on his first watch. Two years later, in 1797, Bautte took as partner the case-maker Moulinié and the firm Moulinié & Bautte in 1804 was joined by the watchmaker Jean Gabriel Moynie., The name of the Company then became: Moulinié, Bautte & Cie. before being renamed Moulinié, Bautte & Moynier. By that time, Bautte was the most important dealer of Geneva. Ruskin in Praerita (The Works of Ruskin, Vol. 35, Praerita, page 325) reports this story about the celebrated dealer: A visit to Bautte?s was made with trepidation, as if one was going to see one?s banker. Hardly an indication on the building; a simple brass plate at the side of the narrow, vaulted entrance. The alley gave onto a courtyard resembling a cloister, and a large open staircase, wide enough for two people, led you to the green gate. There you paused to pluck up courage before entering. The room was not large and had only one counter in a corner. Nothing was displayed on this counter behind which two trusted employees attended. At the back, close to the window, was one of the heads of the house at his desk, Mr. Bautte, his son or his partner. Then one had to say what one wanted and to be decisive. In Bautte?s shop, nothing was laid out to tempt the eyes. You wanted a bracelet, a brooch, a plain or an enamelled watch, serenely a choice was laid before you. There were neither large stones, nor flashy jewels, but fine work, made of the purest gold, enamels remarkable for their colours, all showing a certain ?finesse Bauttesque?, interlaced garlands which an experienced eye recognised as being in the style of Paris or London. These items, of modest price, would last lifetime. One went away from Bautte?s with the feeling of having accomplished a duty, and certain of possessing an object of value. When Jean François Bautte died on November 30, 1837, his son Jacques Bautte and his son-in-law Jean Samuel Rossel, formed a partnership styled ?Jean François Bautte & Cie.? to perpetuate the founder?s vision. Jacques Rossel, the son of Samuel, by 1883 became the sole owner of the Company, changing its name to ?J. Rossel Fils? . When he died in 1887, he was succeeded by Felipe Hecht and later his son Juan. In 1906, Juan Hecht turned over all his interests in the company to a friend and parent Constant Girard-Gallet, owner of Girard-Perregaux & Cie. Literature: Sharon and Christian Bailly, ?Flights of Fancy, Mechanical Singing Birds?, Antiquorum Editions, 2001, pp. 299-301.