Swiss, 

Circa 1845,

Fusee movement,

Serial number 205,

 

One of the finest surviving examples by J. Bruguier.

 

Star-spangled Swiss genius...

 

When wound and the start/stop slide actuated, the lid rises as the bird majestically appears, moving head, flapping wings, bobbing tailfeather, opening and closing fine bone beak, whilst turning whole body from side-to-side to the slight-paused birdsong in the much-prized 1-2-3-2-3-4 sequence.  Coming to an end when the bird disappears through grille as bird lid closes sharply back down again.

 

Signed to shaped spring loafer in Bruguier's hand Jacques Bruguier rue Bonivard 6, Genevé and inscribed throughout movement and case interior 205. 

 

The bird with exceptional banded layered feathered plumage with a dark brown undertone, flashes of turquoise and beige, accented by the bright iridescent highlights in gold, electric green and fiery red, rising through the incredible pierced, tooled and chased-detail gilt grille, fully reflected in the highly polished bird lid interior with pointed hinge mount, in the rich silver-gilt and enamel case of the highest degree of quality.

 

Bird lid top of even domed profile, with magnificent painted enamel study of traditional Swiss chalet dwellings set before forest edge and a stream levy, two figures walk along the path on the right, whilst the eye is taken towards a tall mountain ridge rising up on the left to meet a larger snow-capped summit beyond, framed by tiny tooled edge to the silver, including the hinge bar recess. 

 

Main lid with breath-taking display of no less than seventy-two whole and part-in-view quatrefoil stylised flower heads, each with tooled edges and star-flash centres, in-filled with blue enamel, on infill black enamel ground, petit-point frieze running around the edge before continuous squat contempary Greek key maze of tooled shading and black enamel infill.  The front and rear fields with large alternating sized obverse mitre points, each with chased detail, with the perspective achieved with black enamel infill, above twin turquoise fan crests set amongst sprouting ivy and fern leaves in deep blue enamel, with all branching trails in very slim black enamel, all on point-tooled ground.  Repeating theme to smaller scale to both sides, and the corners having X-form black enamel banners with spade-tip tooled intermediaries. 

 

Underside with large central cartouche engraved with the initials H. Mc. L. framed with further black enamel infill border, main ground displaying the finest line tooled design yet seen, with the repeating triple ridge clusters and multi-line crossovers only really made visible with the aid of a loupe, finished with a tiny single black enamel band encircling the winding hole, hidden key compartment at rear, start/stop slide to front-centre. 

 

size -  3.1/4in. wide, 2.1/8in. deep, 1.3/8in. high - (8.2 x 5.3 x 2.8cm)   

 

Point of Interest - 

 

Most Bruguier singing bird boxes, both by Charles and Jacques, have within them an autograph by their maker. This is not the only method of identifying the maker, as the stamp to movement top plate, in addition to the serial number also stamped and engraved to case panels and components such as grille assembly, is the norm.  The comforting issue with the hand inscribed signature is that, invariably, the workshop address is also included.  Here, that address is given as Bonivard 6, Geneva, also seen on another J. Bruguier singing bird box handled and sold by Douglas Fisher last year.    It is no coincidence that that box, like this one, was in a far more superior league with regards to quality of design, material choice and condition brought about in part through the astonishing level of workmanship. 

Along with the serial number, research is straight-forward to ascertain date of manufacture.

 

On a supplementary point, seeing the hand inscription is rather pure proof of originality, for we know the handwriting of both the Bruguiers very well and can distinguish either at a glance.  It is a comforting reassurance.

 

The most exciting part of this glorious singing bird box, is its size.  Very similar proportions to pieces made in Geneva by the renowned Rochat brothers, the clearance of the movement within the case is a question of one thousandths, not hundredths.  Even a small cut-out has been made to the case interior above the hidden compartment indent at manufacturing stage to accept the space which will have to be occupied by the bird lid bar.

Another interesting construction detail is the use of silver gilt pins to hold in the bottom plate of the case - no wrapping or soldering was used.  And until one inspects the inside, the pins, so brilliantly and flawlessly fitted and finished, are invisible to the naked eye.  

 

A great deal of thought was put into the making of this outstanding singing bird box over 160 years ago.