Abraham Cailliatte, Geneva Born 1642, died 1710. Originally a refugee Flom France, he appears to have specialised in gold and enamel watches. Examples exist with cases of French origin, (Musee du Lou)re, Inv. no. OA8332) as well as this watch with case by Pierre Humid 1 and an example by Pierre iluaud II (Dr. F. Gschwind Foundation, Basle, ill. and described in `Geneva Phatc/ies ' by S.Bull 8 F. Sturm, Basel 1978, no. 8). Pierre I Huaucl le pere Born Chatellerault circa 1612, died Geneva 1680. Son of a French goldsmith who emigrated to Geneva in 1630. Apprenticed to Laurent Legare, made partner in 1634 and married I'rauuoise Mussard in 1634. The founder of the famous dynasty of enamellers, which continued with his three sons and apprentices until circa 1720. He is the first recorded enamel painter working in Geneva. Very few signed examples of the work of Pierre I exist, and the question of atributiou has long been confused by mixing the work of Pierre i with that of his eldest son Pierre ii. Dr. Hans Boeckh addressed this problem in a monograph on the signed plaque now preserved in the Musee de Geneve Boeckh draws attention to the fact that Pierre II always signed his work "I: Humid / 'ante " or Y' Hnand I')rinut) Grnlho F» Four pieces signed by Pierre i are recorded: I. An octagonal cover, fragment nom an ancient "boite a portrait ". ( Musee de I ' ltorlogerie et de I ' emaillerie in Geneva, inv. no. AD 4740) 2. Crucifix watch in the Dr. E. Gschwind Foundation, Basel 3. Watch painted with Meleager and Atalanta, formerly in the Edemard Kann Collection. 4. Portrait of a man, dated 1678, formerly in the J. Lumsden Collection. Definitive attribution to Pierre I of unsigned pieces is further complicated by the Oct that his eldest son, Pierre II painted in a style that frequently used elements employed by his father, and by a tendency in the past to attribute all watches enamelled with high 'chef scroll voile and busts of Mars or Minerva to the father, despite the existence of a very similar watch signed "7-Ittecud lc puisne feed". Some of the latter are undoubtedly by the rather, but certainly not all. however, by comparing elements and techniques used by Pierre I on the surviving signed pieces, it is possible to assign with certainty a number of unsigned examples to his hand. Pierre I was notably fond of a particularly brilliant orange colour that appears on his signed watches, and almost invariably on the attributable unsigned work as well. On the plaque previously mentioned it can be seen on the costume of Paris and the sandals of Mercury. More significantly it appears on the Gschwind Foundation crucifix watch in the small flowers within the centre of the chapter-ring (a virtually identical watch, unsigned but definitively attr ibuted to Pierre I was sold by Antiquorum Geneva, in October 1995 as lot 919). These small flowers are apparently not present on any watch signed by the sons, but very frequently on pieces attributable to the lather. Apart from the two crucifix watches mentioned above, the following watches may also be noted. 1. Watch by Pierre Duhamel with the entire band of the case back decorated with (lowers, the sides with tr anslucent green enamel, the interior with a lady on a tu rquoise ground. (Musee du Lou)re, Inv. OA8433) 2. Watch by Jean Rousseau with a small portrait on the back on a turquoise ground, the bezel edge and dial centre with small Sumpter flowers on similar ground (sold Chri.stie's Geneva, November 1985, lot 145). 3. Watch by Jean Dcchoadcns with engraved gold work flowers and champleve green translucent enamel, the back with a similar portrait to the above (Musee du Louvre, his. OA8316) 4. Flask shaped watch by Auguste Bretonncau with the entire band of the case decorated with (lowers, the covers with scenes painted in enamel and an engraved gold foot and neck. (Dr. E. Gschwind Foundation, Basel). A synopsis of the techniques employed by Pierre i would include the following: a) small flowers as minor or major decoration, always with orange examples - apparently never used by die sons. b) translucent green or blue enamel over a Ilingtte ground - apparently never used by the sons. c) champleve opaque or translucent enamel within an engraved field - apparently never used by the .sons. cl) Frequent use of a vivid orange pigment - rarely used by the younger sons, but occasionally by Pierre II. e) Occasional use of en p/eiu enamel - used very infrequently by Pierre II. I) Use of turquoise enamel as a ground colour - occassionally used by the sons. From the above it can be seen that Pierre I was highly versatile in his technique as well as being a supreme painter in enamel. (Indeed Hans Boeckh has been working on the theory that Pierre I may have been attached to one of the major workshops ill Blois curing the early part of his career.) Only Pierre q appears to have mastered any of these exotic techniques, and after the death of Pierre I, he produced only painted enamels. The watch now offered for sale incorporates nco of the techniques specifically associated with Pierre I, iii combination with other elements that help to confirm the attribution. Firstly there is the use of champleve opaque enamel within an engraved field for the decoration of the band. Secondly, the subject painting makes use of the vivid orange that can be associated with Pie cc' I. Equally notable is the fact that the ruined landscape portrayed on the interior oldie case is identical to the scene employed on the interior of the cover of to flask-shaped watch preserved iu the Dr. E. Gschwind Foundation, Basel. The exterior of that flask is of course, as previously mentioned, decorated with the small flowers associated specifically with Pierre 1. Undoubtedly these landscapes were taken from available prints, but the scene in question would also appear to have been used only by the father. As research enables more positive and accurate identification of the work emanating from the leading family of enamellers in Geneva during to 17th century, it becomes clear that Pierre i 1 huaud was by the far the most talented and skillful of the dynasty.