THE FORTUNE TELLER

• rectangular box with a finely painted polychrome enamel scene composed of a young lady consulting a turbaned fortune teller, the figures in vivid colors, one area of enamel restoration to top lid, all within a split pearl-set border, the base and sides decorated with translucent blue enamel over an engine-turned fabric design (à étoffe), within a border of chased gold foliage highlighted with turquoise all on a black ground, matching sides • hinged base opening to reveal an automaton scene of vari-color gold figures of a couple playing a harp and a lute, in a classical enamel painted interior all below the center seconds watch in the form of a clock with exposed regulator dial and Roman numerals • the music movement with gilt rectangular plates, sur plateau music, revolving plate playing with 31 teeth in fan shape • the front with slides for stop/start and tune selection • the case stamped with Geneva town mark, the rim stamped with French Department control mark for 1809-1819 and further stamped no. 4188

King Farouk of Egypt (1936-1965) until 1952

Sotheby & Co., The Palace Collections of Egypt, Cairo, March, 1954, lot 546, pls. 26 & 27

Prominent American Family until present 

Sotheby & Co., The Palace Collections of Egypt, March, 1954, lot 546

Main enamel scene - case restoration visible at lower center right and affects the robes of the figures on the right and middle. Otherwise the surface has only minor abrasions to enamel. Right side center panel - with soft enamel restoration and crazing to finish. Automaton - the enamel interior scene in good condition, the figures both in good order and are of high quality. The automaton in working order, the same for the watch and music.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. All dimensions in catalogue descriptions are approximate. Condition reports may not specify mechanical replacements or imperfections to the movement, case, dial, pendulum, separate base(s) or dome. Watches in water-resistant cases have been opened to examine movements but no warranties are made that the watches are currently water-resistant. Please note that we do not guarantee the authenticity of any individual component parts, such as wheels, hands, crowns, crystals, screws, bracelets and leather bands, since subsequent repairs and restoration work may have resulted in the replacement of original parts. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue. In particular, please note it is the purchaser's responsibility to comply with any applicable import and export matters, particularly in relation to lots incorporating materials from endangered species.NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

**Please be advised that bands made of materials derived from endangered or otherwise protected species (i.e. alligator and crocodile) are not sold with the watches and are for display purposes only. We reserve the right to remove these bands prior to shipping.

Important Notice regarding importation into the United States of Rolex watches
Sotheby's cannot arrange for the delivery of Rolex watches to the United States because U.S. laws restricts the import of Rolex watches. The buyer or a designated agent may collect the property in the country of sale."

The present lot, no. 4188, is part of a complementary pair, its companion, no. 4189 was sold: Antiquorum, The Sandberg Watch Collection, March 31 and April 1, 2001, lot 215. A third Fortune Teller, with the same scene, was formerly in the Gustave Loup collection and now in the Sir David Salomons Collection at the L.A. Mayer Museum for Islamic Art in Jerusalem.  The Salomons box is illustrated in, George Daniels and Ohanes Markarian, Watches and Clocks in the Sir David Salomons Collection, pp. 170 and 171; see also Alfred Chapuis, Le Montre Chinois, p. 30, 1983 illustration, p.30 and Alfred Chapuis and Edouard Gelis, Le Mondes des Automates, p. 41, fig.307, 1928

Isaac-Daniel Piguet (1775-1841) was born in Le Chenit (Vaud) and is said to have moved before 1800 to Geneva, working firstly for Jean-Frederic Leschot before entering into partnership with his brother-in-law Henri Capt, another mécanicien, on 10 February 1802. He appears on his own as ‘horloger mécanicien à la Madelaine’ in 1809 but entered a new partnership with Philippe-Samuel Meylan (1772-1845) in 1811. The two worked together as ‘Marchands & Fournisseurs d’horlogerie & Bijouterie’ with a workshop at Chevelu, Maison Bellot (later renamed 45 rue Jean-Jacques Rousseau), until the partnership was dissolved in February 1828.

Many advances in the creation of very small and very thin movements for watches, musical boxes and automata of the most refined sort are credited to Piguet and Meylan, as well as the invention of the sur-plateau musical movement.

The subject is based on The Necromancer, painted by Jean Baptiste Le Prince around 1775 and engraved in 1785. Le Prince painted three versions of the subject, one now in the National Gallery London, one in the Hermitage, St Petersburg, and another in private hands.  Interestingly, the originals show the figures of the fortune teller as an old grey-haired man, seated and wearing a figured robe, not the handsome young turbaned Turk to be seen on the Geneva enamels.

The enamel scene is possibly by Jean-Abraham Lissignol (1749-1819), known as Pére Lissignol to distinguish him from his son Abraham who was also an enameller in Geneva; Pére Lissignol was trained by Jean-Marc Roux. As well as painting plaques for snuff boxes, he also supplied workshops with portrait miniatures for watch cases and boxes. He appears to have specialised in allegorical subjects particularly those including plump cherubs. A box in the Patek Philippe Museum shows such a scene identified as the allegory of The Arts and Nature. In 1806, Père Lissignol wrote eloquently to the Paris authorities (Geneva then being occupied by France) suggesting that the Imperial Court should buy enameled trinkets to encourage the failing trade in Geneva, just as they had bought Lyons silk to help that market recover.

The present lot with its unusual case design, striking enamel work and dial layout is reminiscent of another famous piece, known as "The Amphora". "The Amphora" is in the collection of the Patek Philippe Museum For an illustration of the Amphora see,The Patek Philippe Museum Exhibition Guide, p. 63