From the Collection of a French Gentleman The case is so superbly painted that after the invention of the balance spring, the owner had the movement changed for a more modern one. It was a common practice in the 18th century to replace the movement in a particularly expensive or beautiful watch. Examples can be found in numerous museums and private collections. A few years ago, while researching the records of Ferdinand Berthoud, Jean-Claude Sabrier came upon an order from Monsieur Muchain for a movement specially made for his old enamel case. Berthoud made this movement, (No. 2358), in 1789. This proved conclusively that old enamel cases were held in such high esteem that custom movements were occasionally made to order for them. (See Antiquorum, Lord Sandberg Collection, March 31, 2001, No. 264) 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. In the Wilsdorf Collection there is a watch with a case painted by the Huauds with a portion of the same scene, which houses a movement by Thomas Williamson of London (active 1668-1684). The present watch appears to be the final version of the subject as executed by the Huauds, and showing the entire scene from the Dorigny engraving. The Huauds The best-known and most prolific family of enamel painters of their day. They descended from a family of goldsmiths in Châtellerault, France, and emigrated to Geneva. The father, Pierre Huaud I (1612 -1680) He was a protestant who emigrated to Geneva, where he became a "habitant" in 1630. He finished his apprenticeship as a goldsmith with Laurent Légaré in 1634, and soon afterwards became Master goldsmith. In 1661 he served an apprenticeship in enamel painting with Jean André. His three sons became enamel painters as well. Pierre II (1647 ? c.1698) He was apprenticed to his father. In 1685/6 he went to Berlin to work in the service of the Brandenburg Elector. After a brief stay there, he returned to Geneva in 1686. Pierre II went back to Germany at the end of 1689, and in 1691 he was named painter-miniaturist to Frederick I. Jean-Pierre (1655 -1723) and his brother Ami (1657-1724) Became partners from 1682 to 1688. They, like their older brother, were appointed painters to the Court of the Brandenburg Elector in 1686, and went to Berlin where they lived and worked until 1700, at which point they returned to Geneva. Although much of their work was done in partnership, they also often worked alone. Their work was sought-after by watchmakers from all over Europe. Watchmakers would order a case from them and then build a watch to fit it. After the invention of the balance spring in 1675, when the old movements became obsolete, they cases were still cherished to the point that, for many of them, the owners would order a new balance spring movement. Venus, Bacchus, and Ceres "Les deux frere Huaut pintre de son A.E. de B. a Berlin", circa 1690, movement Andres Förster, Wien, No. 140, circa 1780. Exceptionally fine and very rare 20K gold and painted on enamel pendant watch. C. Two-body, "bassine", the back very finely painted on enamel with a scene depicting Venus, Bacchus and Ceres from a Michel Dorigny engraving after a painting by Simon Vouet (1590-1649), inside painted with a landscape and a traveler in the foreground, band with four landscape vignettes. D. White enamel, Breguet numerals, outer minute divisions, winding aperture at 3 o?clock. Brass Louis XVI hands. M. 33 mm, hinged, frosted gilt full-plate with pentagonal baluster pillars, fusee and chain, verge escapement, brass balance with flat balance spring, single-footed cock. Signed on the movement, case signed Huaud. Diam. 40 mm. The case is so superbly painted that after the invention of the balance spring, the owner had the movement changed for a more modern one. It was a common practice in the 18th century to replace the movement in a particularly expensive or beautiful watch. Examples can be found in numerous museums and private collections. A few years ago, while researching the records of Ferdinand Berthoud, Jean-Claude Sabrier came upon an order from Monsieur Muchain for a movement specially made for his old enamel case. Berthoud made this movement, (No. 2358), in 1789. This proved conclusively that old enamel cases were held in such high esteem that custom movements were occasionally made to order for them. (See Antiquorum, Lord Sandberg Collection, March 31, 2001, No. 264) 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. In the Wilsdorf Collection there is a watch with a case painted by the Huauds with a portion of the same scene, which houses a movement by Thomas Williamson of London (active 1668-1684). The present watch appears to be the final version of the subject as executed by the Huauds, and showing the entire scene from the Dorigny engraving.