A parcel-gilt silver and enamel singing bird box

the movement numbered 260 within three tulips,  Charles Abraham Bruguier, Geneva, circa 1845, the movement also with workmaster or restorer's incised signature: WG 1160



rectangular, the exterior decorated with a bold design of translucent green scrolls between blue enamel strapwork devices, the ground decorated with different types of engine-turned pattern, the oval lid opening to reveal the dancing and piping feathered automaton

There are losses and scrapes to enamel of blue borders, some of which is visible in the catalogue photo; a lesser amount of damage to the green enamel. The bird is currently functioning but we do not guarantee the mechanism. It sings loudly and animatedly. The surface was probably originally silver-gilt, and the lid remains gilded.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. 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.
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."

The 'three tulips' stamped on the movement on this box are traditionally associated, when in a lozenge, with the Rochat brothers in Geneva. Sharon Bailly (Karman) illustrates the same combination of numeral and separate tulips on the movement of a comparable gold singing bird box of similar date (Oiseaux de bonheur, Geneva, 2001, pp. 272/3). Since the movement and box style are of the type more usually associated with the Bruguier family, she suggests that the Bruguiers acquired and used Rochat blanks. It is also possible that Charles Abraham Bruguier senior assumed the stamp, as a mark of quality, before his own name became recognised in its own right.