Pocket watches for the Chinese market - a Swiss gentleman's collection presented by Antiquorum

In the 18th and 19th centuries, while the European aristocracy and bourgeoisie were collecting Chinese porcelain and so-called lacquer panels, the Middle Kingdom, fascinated by Western watchmaking, was buying pocket watches in large quantities, often decorated with enamel. Today these pieces are known as Chinese watches, or watches made especially for the Chinese market. The collection of Chinese pocket watches that the auction house Antiquorum presents here was consigned by one of its oldest and most loyal clients. The pieces that follow are only a small part of this Swiss gentleman's collection, which will unequivocally bear witness to the impeccable taste of this collector.

The notion and perception of time are fundamental. They shape the characteristic, even civilisational, traits of a people. For example, while in the West we have a linear view of time, in the East this is not so, particularly in the Sinic cultures, where time is perceived in a circular sense.

When the first diplomatic relations with China were established, during the reign of Louis IX of France (1214-1270), automata played an important role. In 1253 the monarch sent an ambassador to Manghu Khan, the Great Khan of Tartary. This was the era of the great Mongol incursions that swept across Russia as far as Kiev and extended south to Poland and Hungary. An account of the journey of this royal envoy, Guillaume de Rubruquis, a Flemish priest and traveller, is preserved today in the British Museum. Originally in Latin, it was translated into English in 1629 and into French in 1839. The document states that among the prisoners of the Tartars in Karakorum was a certain Guillaume Boucher, a skilled goldsmith from Lyon who won the favour of the emperor of Tartary by building him a monumental and marvellous automaton:

"Four silver lions lay at the foot of a great tree with branches bearing silver leaves and fruit, and mare's milk flowed from their half-open jaws. Inside, four conduits rose to the top of the tree and came down in the form of golden serpents. From their mouths flowed precious liquors to fill silver vessels. At the top, an angel sounded a trumpet when the cupbearer gave the order to pour the drink. The apparatus was set in motion by means of a bellows worked by a man hidden at the base of the tree. The servants refilled the nearby reservoirs with the liquors for the respective conduits".

Although the first contacts between China and the West were established in the 13th century, the first table clocks and pocket watches were imported through the Portuguese trading posts during the 16th century (1514), under the Ming dynasty, especially with the arrival of the Jesuits in Beijing, among whom was Father Matteo Ricci (1552-1610). Clocks and watches have long been gifts of choice: symbols of power and knowledge, messengers of culture, symbols of friendship and true measures of peace.

On the threshold between these two worlds, pocket watches made for the Chinese market are a splendid testimony to the Swiss know-how exported abroad as early as the 18th century. Today they are sought after by many collectors for the richness of their decoration, usually engraved and enamelled, with gold effects and surrounded by half-pearls. These religious orders, true embassies of Western culture, spread across a large part of Asia, India and Persia. In this period, the two main centres producing pocket watches for the Chinese market were London and Switzerland.

During the 18th century the English made significant efforts to expand their trade across China, and it was the London watchmakers who played a leading role in the popularity of these 'Curiosities' so admired by the Chinese. The English East India Company, founded in 1600, took control of large parts of the Indian subcontinent and colonised parts of South-East Asia, including the trading centre that was, and still is, Hong Kong. Strong commercial and diplomatic ties between Great Britain and the Chinese court ensured that many watches, although of Swiss origin, were signed with English names and marked "London".

At times, some British hallmarks were forged or imitated, especially during the 18th century and the early 19th century, when English watchmaking enjoyed the reputation of being the best of the best. Marks similar to British hallmarks were applied to watchcases to lead the public to believe that the watch was of English manufacture. It was common for pseudo "hallmarks", marks meant to resemble only slightly the marks they imitated without thereby becoming outright forgeries, to receive official punches to give them maximum credibility. Most of the time these pocket watches were made in China, in silver or gilt silver, but with the same features as the pocket watches made in Europe for the Chinese market.

However, the Continental Blockade, from 1806 to 1814, broke off relations between Geneva and London. After 1815, the workshops of Piguet & Meylan and Jaquet Droz & Leschot in Geneva, James Cox or Ilbery in London and Bovet in Fleurier distinguished themselves by the quality of their creations, often enamelled in Geneva. At the height of this period, around 1840, trade, although disrupted by the Opium Wars, continued with Switzerland. The influence of Edouard Bovet, for example, was such that "Bo Wei" is today a Cantonese word synonymous with "watch". And contrary to what one might think, Western watchmakers did not have to adapt to the market they exported to. Chinese taste combined perfectly with the European style, with fantastic shapes and arabesque floral arrangements with coloured borders set with precious stones. After the Boxer Rebellion in 1900 and then the Socialist Revolution, most of the collections were sold.

Ilbery London, Switzerland, YOUNG CHINESE LADY IN FORMAL COURT DRESS, made for the Chinese market, circa 1820.

Estimate: CHF 60,000 – 100,000

A very fine and extremely rare 18K gold and enamel pearl-set watch with centre seconds and duplex escapement. Empire case, the bezel, pendant and bow set with pearls with blue champlevé enamel decoration, and scarlet flinqué enamel band with inlaid half-pearl decoration; the back in painted enamel with the portrait of a Chinese noblewoman on a balcony in a Chinese landscape.

William Ilbery, London, recorded as active in 1780, died in 1839.

Ilbery specialised in watches for the Chinese market and worked closely with various makers in Switzerland, both for movements and for enamel work. Political and commercial relations between Great Britain and China were so essential that even the talented Jaquet-Droz set up a branch in London to take advantage of the China trade. The finest period of watchmaking for the Chinese market coincides precisely with Ilbery's success – 1790 – 1830 – and with the work of the best enamel artists – Dupont, Richter, Lissignol etc. – whose subjects covered classical mythology, Swiss landscape painting, or stories of an allegorical nature – Faith, Hope, Love etc. No other examples with a portrait are known today, and until this piece was offered at auction, only one was known that might possibly have survived to the present day.

At Christie's sale of 20 April 1991 in New York - Important Clocks and Watches, lot 89 was a pair to the present lot, but with the back panel showing the portrait of a Chinese gentleman, also in formal court dress (whereabouts currently unknown). Although not a pair in the generally accepted sense (that is, the identical subject but painted in reverse, as a mirror image), both pieces must originally have been commissioned for the same client and presumably for the couple portrayed on each of the watches. Sequential numbering of the movements can often be found on 'pairs', but this does not seem to have been an infallible rule. As there is no tradition or record of Swiss enamellers working in China in the early 19th century, it is interesting to speculate on how the original portraits reached Europe. By the late 19th century photography was beginning to be used, and there are drawings dated from the 1860s or later (see A. Chapuis, la Montre Chinoise, Neuchâtel, p.187, fig.148). Considering the rich colouring of the dress and the incorporation of gold touches to simulate the braids, it seems feasible that the portraits were taken from reverse paintings on glass, a technique that enjoyed considerable popularity in China. At that time, flat glass mirrors were exported from Europe to be partly decorated with the same technique and returned to be framed in the "chinoiserie" style.

Edouard Juvet, Switzerland, THE NOBLEMAN, made for the Chinese market, circa 1870.

Estimate: CHF 40,000 – 60,000

A very fine 18K gold and enamel centre seconds watch with duplex escapement. Pendant and bow with champlevé enamel decoration, enamelled back panel with a painted scene of a nobleman helping his beloved across a stream. Hinged polished gold cuvette with bright-cut and engraved decoration. The scene, in the neo-rocaille, neo-Louis XV style very much in vogue during the 19th century, shows the Chinese market's taste for this kind of motif.

Edouard & Léo Juvet

One of the important Swiss watchmaking families that worked for the Chinese market. Edouard Juvet (1820-1883) first settled in Buttes in 1842, but in 1844 moved his workshop to Fleurier. Juvet began making "Chinese" watches in 1856. Edouard's sons, Ami-Louis and Léo, travelled to China to work in the family business. When Ami-Louis died, Léo (1848-1891) took his place. In Shanghai the Juvets were rivalled only by the Bovets, but the two families were on friendly terms. Maison Juvet prospered, opening branches in Tien-Tsin and Saigon, so much so that in 1872 Léo wrote: "Our watches sell like salt". In 1873 Edouard Juvet registered a mark in Chinese characters, which came to be used on the company's products. Edouard handed the management of the company to his son Léo in November 1875 and died in February 1883.

Ilbery London, Switzerland, CALM HARBOR, made for the Chinese market, circa 1820

Estimate: CHF 60,000 – 100,000

A fine and extremely rare 18K gold, painted enamel and pearl-set pocket watch with duplex escapement. The enamel attributed to Jean-Louis Richter. "Empire" style case, the hinged back decorated with a finely painted view in the manner of Claude Vernet of washerwomen in a boat in a calm harbour landscape with mountains and a small village in the distance. Hinged and suspended gold cuvette attached to the movement ring.

Jean-Louis Richter (1766-1841)

He learned his art from David-Etienne-Roux and Philippe-Samuel-Théodore Roux and became one of the most renowned enamel painters. His speciality was landscape painting, and particularly lakeside and marine scenes, often depicting ships in a harbour or battles with men in combat. He occasionally also painted portraits and hunting scenes. Richter did not usually sign his work, but it is clearly recognisable by the style and quality of his painting. The artist applied his art mainly to watchcases and snuffboxes intended largely for the Chinese, Turkish, British and Italian markets. In 1828 he was in partnership with Aimé-Julien Troll (1781-1852), and works signed "Richter et Troll" are found (statement not confirmed!). Like other great enamel painters of the period, Richter often found inspiration for his work in paintings or engravings by artists fashionable at the time, especially Claude Vernet (1714-1789), Van der Myn (1684-1741), Giovanni Battista Cipriani (1727-1785), John Francis Rigaud (1742-1820), John Hoffner (1748-1810) and Francesco Bartolozzi (1727-1815), or in romanticised English and Irish rural life, or particularly famous scenes such as the "Abduction of Helen" from the engraving after Guido Reni (1575-1642), now in the Cabinet des Estampes in Paris.

William Ilbery (circa 1760-1839)

Active in London from 1780 in Goswell Street, he moved to Duncan Terrace at the end of the 18th century. After James Cox in London and Jaquet Droz in Switzerland, he too specialised in the production of luxury watches for the Chinese market. His early production closely followed the English style, featuring a full-plate movement and a single-wheel duplex escapement of the English type. However, for his highest-quality watches he chose to incorporate a spring detent escapement. Later, the movements of the watches he produced were strongly inspired by the famous Lépine calibre with a going barrel, as were the Swiss production of Jaquet Droz signed in London and that of William Anthony, who worked in London. The cases of his watches were lavishly decorated by the finest Geneva enamellers, such as Jean-François-Victor Dupont, who usually signed his work, and Jean-Louis Richter, who rarely did. Ilbery organised the production in Switzerland, mainly in Fleurier, of richly engraved movements for the Asian market. In this he was followed by makers such as Bovet and Juvet, who also worked in Fleurier (Val de Travers). Ilbery can therefore be considered one of the most representative makers of so-called "Chinese" watches. The watchmaker seems to have maintained close contacts with continental trade, since an example signed "Ilbery Paris" is known, and the Ilbery & Son mark was registered in London as well as in Fleurier, and in Canton (today Guangzhou). His son, William Ilbery (c.1780-c.1851), worked with him.

Bovet Fleurier, Switzerland, THE SHAKESPEARIAN TRAGEDY, made for the Chinese market, circa 1824

Estimate: CHF 50,000 – 100,000

A very fine and important 18K gold, enamel and pearl watch made for the Chinese market. Empire-style case with bezels and pendant set with half-pearls, the band and bow in translucent red enamel over guilloché with inlaid half-pearl decoration, the back enamelled and finely painted with a scene from a Shakespearean tragedy. Hinged gold cuvette with guilloché decoration.

"The Shakespearean Tragedy"

Although the movements were generally produced in Fleurier (Val de Travers), Switzerland, these high-quality watches, made for the Chinese market during the first quarter of the 19th century, were decorated in Geneva by the finest craftsmen of the time. Enamel painters such as Richter and Dupont often found their inspiration in the work of old master painters such as Van der Myn (1684-1741), Giovanni Battista Cipriani (1727-1785), John Francis Rigaud (1742-1820), John Loffner (1748-1810), Francesco Bartolozzi (1727-1815) and William Hamilton (1751-1801). The enamelled back of each case is in itself a true masterpiece of miniature painting, with seaside landscapes, naval battles, and mythological and allegorical scenes evoking love, such as "The Abduction of Helen by Paris" taken from the engraving after Guido Reni (1575-1642), including children playing and illustrations of Shakespearean tragedies.

Bovet

A watchmaking dynasty founded by Edouard, Frédéric, Alphonse, Gustave, Charles-Henri and Caroline Bovet, from Fleurier. In 1822 a Bovet partnership was founded for the Chinese watch trade in Canton. In 1840 Bovet Frères et Cie was founded in Fleurier and, in 1864, the production of Bovet watches was sold to Bovet's manufacturing inspectors in Fleurier, Jules Jéquier and Ernest Bobillier, a management that would later also include Ami Leuba. In 1888 Bovet Frères was founded under the management of Alexis Landry, who had served as an apprentice in Fritz Bovet's workshop in Fleurier, producing ébauches for Chinese watches and silver cases. Alexis Landry formed a partnership with Albert and Jean Bovet, specialising in chronographs and complicated watches. In 1901 the Bovet brand was acquired by César and Charles Leuba, sons of Ami Leuba. In 1918 Jacques Ullmann & Co. of La Chaux-de-Fonds bought the Bovet brand from the Leuba Brothers and, in 1948, Favre-Leuba took over the company and acquired the first production factory. In 1966 Favre-Leuba sold the factory in Fleurier and, in 1989, Parmigiani acquired the Bovet name.

A limited company registered as Bovet Fleurier S.A. was formed in 1990, using the registered Bovet trademark. In 1994 Roger Guye and a partner bought Bovet Fleurier S.A. and opened a branch in Geneva. Pascal Raffy became majority shareholder and chairman in 2001. Today Bovet watches are widely available in the world's main destinations.

Ilbery London, Switzerland, ILBERY, SOLID GOLD MOVEMENT WITH RICHTER ENAMEL SCENE, made for the Chinese market, circa 1810

Estimate: CHF 40,000 – 80,000

A very fine and rare pocket watch made for the Chinese market, special movement built in "solid red gold"; 18K yellow gold and enamel; the enamel attributable to Jean-Louis Richter. 18K yellow gold and enamel open-face, round, key-wound pocket watch with a special solid gold movement and subsidiary seconds at 6. The inside of the case is stamped with so-called "prestige" hallmarks, based on those used in Great Britain at the beginning of the century, in particular the crown and the letter "G" of Sheffield (South Yorkshire) for the year 1804, while this same letter was used in London in 1802.

An Extraordinary Discovery

This watch is the "sibling" of a piece that Antiquorum sold in Hong Kong on 28 April 2019 (lot 607). The enamelled scenes of the two watches are mirrored; that is, each image is reversed like the reflection of the other in a mirror. This is one of the particularities of Genevan production for the Chinese market, which often went through the London trade before being exported to the Middle Kingdom. It is also important to note that both watches are fitted with unusual movements made of solid gold. We are therefore dealing with one of the high points of watchmaking history in the early 19th century.

The watch comes with a box with two compartments, made expressly to keep the two pieces together. On the back of this box is an old label with a handwritten inscription: "Numa Jacot / Fleurier". This may be the name of a former owner of this pair of watches, now separated from each other, but which, it is hoped, may one day be reunited. It is hard to say whether this box dates from the time the watches were made or from the mid-19th century, probably the time of their return to Europe after the vicissitudes of the Celestial Empire in the 19th century.

Some connoisseurs claim that the movement numbers are not consecutive, and that therefore they cannot be pieces born together, like twins. Studies carried out over decades on so-called "Chinese" watches indicate that, although this seems logical, it is not impossible. This claim is strengthened if we consider that we are dealing with extremely rare movements whose production must have taken much longer than the usual classic "Chinese" movements. Several pairs of watches preserved in the Patek Philippe Museum in Geneva demonstrate exactly this, since the numbers of their movements are not consecutive.

Note also that this pair of watches is the only one known to date with gold movements. In fact, only seven of these movements are recorded, four of which are signed "Ilbery London". Despite this signature, it is now known that this production is entirely Genevan.

For further information, the catalogue of the 2010 exhibition is recommended: Tellier, Arnaud, & Didier, Mélanie, The Mirror of Seduction, Prestigious pairs of "Chinese" Watches, Geneva, Patek Philippe Museum Editions, 2010.

Ilbery "Consular" type cases with scalloped edges

The case of this watch was conceived in the same spirit as that of the watch signed Ilbery, London, no. 5995, whose movement (gilt brass, full plate, with fusee and chain) includes a Peto cross-detent spring escapement. The enamel painting, also attributable to Jean-Louis Richter, depicts a scene with children "Feeding the Chicks". This case is also of the "Consular" type with scalloped edges (see: Antiquorum, Geneva, auction, 13 April 2002, lot 61, sold for CHF 245 500.-). Ilbery seems to have used this type of case only for its top-of-the-range watches: those with "chronometer" movements or "solid red gold" movements.

Ilbery's "solid red gold" movements

Only a few Ilbery watches with "solid red gold" movements are known. This is the fourth known movement duly signed by Ilbery, London. The others are unsigned. All are associated with cases with painting on enamel attributable to Jean-Louis Richter, Geneva.

Children playing with a hoop

The bucolic painted enamel scene decorating this watch derives from English genre paintings by Royal Academy artists such as Joshua Reynolds (1723-1792), Francis Wheatley (1747-1801), William Hamilton (1751-1801), William Redmore Bigg (1755-1828), George Morland (1763-1804), etc., who specialised in images of romanticised English rural life in the last quarter of the 18th century. Their paintings were engraved by Francesco Bartolozzi (1727-1815), Thomas Burke (1749-1815), John Raphael Smith (1752-1812), Peltro William Tomkins (1760-1840), Henry Gillbank (fl. 19th c.), Thomas Gaugain (1756-c.1810), etc., and sold as prints published by John Boydell (1719-1804) and Josiah Boydell (1752-1817), engravers and print sellers, James Daniell (fl.1771-1814), John Brydon (fl.1783-1806) and others. These prints were extremely popular and were used as models by Geneva enamellers, including Jean-Louis Richter (1766-1841).

Objects of Vertu (Objets de vertu)

These watches associated with boxes, made for the Chinese market, bear witness to an exceptional know-how whose heritage is today in the hands of the "Métier d'art" departments of the finest manufactures. The fashion for rich enamelled decoration and cases set with pearls and precious stones extended to a whole range of objects of vertu – "objets of vertu" – also known as vitrine objects, such as snuffboxes and musical boxes.

Attributable to Piguet et Meylan, Switzerland, AUTOMATON AND MUSICAL SNUFF BOX, made for the Chinese market, circa 1820

Estimate: CHF 40,000 – 80,000

A very fine and unusual 18K gold and enamel snuffbox with églomisé glass panels, inset centre seconds watch and musical automaton scene. Rectangular case with English hallmarks, églomisé panels (painted under glass) decorated with flowers on a black ground, the lid with borders and bezel set with pearls. Enamel dial finely painted with a country landscape and applied on each side with figures in three-colour gold: on the right a seated lady playing the mandolin, on the left a standing boy beating time in unison.

Philippe Samuel Meylan - Born on 15 February 1772 in Bas-du-Chenit, died in 1845.

At the age of 20 he came to Geneva, where he worked for the Frères Godemar as a master. He then returned to Brassus, where he founded a small factory in 1811. He later went back to Geneva, where he settled for good. He met another watchmaker from his village, Isaac Piguet, with whom he went into partnership, founding the firm Piguet & Meylan, which would last from 1811 to 1828. He specialised in miniatures, musical watches, skeleton or automaton watches, mechanical animals and figures, and is also credited with the invention of the "bagnolet" calibre.

Isaac Daniel Piguet.

Born in 1775 in Le Chenit in the Vallée de Joux, Isaac Daniel Piguet was the son of Pierre Moïse Piguet and Elisabeth Nicole. Isaac married Jeanne Françoise Capt around 1795, and around 1800 settled with his family in Geneva. On 10 February 1802 Isaac Daniel Piguet opened a business with Henry Daniel Capt, his brother-in-law. The partnership of Piguet & Meylan came to an end in 1828. Piguet and his son David Auguste then set up a new firm, Piguet père & fils, at 69 rue Jean-Jacques Rousseau. Isaac Daniel Piguet died in Geneva on 20 January 1841, aged 66. The "sur plateau" musical arrangement found in this box is attributed to Philippe Meylan. The blades were arranged at equal angles and intervals and move progressively inwards towards the centre of the disc. The teeth playing the highest notes, being stiffer, are actuated by the pin near the centre of the disc; the lowest notes are played by the more easily flexed blades, placed closer to the edge of the disc. The number of blades usually varies between 16 and 27, but there are customarily several duplicated notes. The box that Antiquorum offered at auction features this invention of Meylan, as well as the typical Piguet et Meylan automaton arrangement, with the centre seconds watch movement and cylinder escapement mounted directly on the same plate as the musical mechanism. In addition, the enamel on the dial side has most of the features found on other Piguet et Meylan dials.

Attributed to Piguet & Capt., Switzerland, BASKET OF FLOWERS, made for the Chinese market, circa 1820

Estimate: CHF 70,000 – 130,000

A gold and enamel pearl-set snuffbox with concealed watch and automaton. Box with three compartments: the central compartment for snuff, its lid decorated with a finely painted basket of flowers within a border of half-pearls. The side compartments, with spring-loaded lids, the left one for the automata and the right one for the watch, are both covered in translucent enamel, predominantly royal blue, over a "sunburst" guilloché with white enamel and half-pearl borders. The base is painted with a butterfly with open wings in translucent red enamel over translucent royal blue enamel, like the sides, over guilloché. Under the left lid is a pastoral scene whose automaton lets a shepherdess raise and lower her hand, feeding a lamb that moves its head up and down; in front, a grazing sheep nods its head and a dog with an animated head drinks from a stream flowing from the mill, with a turning waterwheel and a small waterfall simulated by a rotating twisted glass rod. All the figures are in multicoloured gold and silver, the setting painted in polychrome enamel on gold. The watch is under the right lid.

A box of identical shape, with identical automata and watch movements, was in the Pierpont Morgan Collection, described in the catalogue under number 85, and is now in the Metropolitan Museum in New York. Another is preserved in the Sandoz Collection, described by Alfred Chapuis and Edmond Droz in 'Les Automates', plate VII and p.180.

Piguet & Capt (active between 1802 and 1811)

Specialised in the production of complicated watches, musical scenes and/or automata incorporated into watches, snuffboxes or other objects. It was among the first in Geneva to use the musical mechanism with pinned cylinder and comb of tuned teeth. From 16 Ventôse, Year X (7 March 1802), to 1811, Henry-Daniel Capt (1773-1841) was in partnership with Isaac-Daniel Piguet (1775-1841), who came from the same village – Le Chenit – as he did, in the Vallée de Joux. The two craftsmen's signature was Piguet & Capt. In 1811, when Piguet left to join Philippe-Samuel Meylan (1772-1845) in a new partnership, Henry-Daniel Capt continued to work on his own until, in 1830, he formed a partnership with Aubert et Fils, Place Bel-Air. The signature was Aubert & Capt, and they were among the first Geneva makers to produce watches with a chronograph. In 1844 the workshop was at 108 rue Neuve, in Geneva. Run by Capt's son, Henry Capt Jr., after a short time it moved to no. 85 rue de la Fusterie and, in 1851, to no. 177 rue du Rhône. In 1880 the company was bought by Gallopin and its name became H. Capt Horloger, Maison Gallopin Successeurs, a trademark registered on 1 November 1880 under no. 44. This signature was used only for watches sold in its own shop, so watches supplied to other dealers or retailers were signed only Henry Capt. Henry-Daniel Capt, together with Isaac-Daniel Piguet and Philippe-Samuel Meylan, was the leading maker of small musical automata in the late 18th and early 19th centuries. Most of his work is unsigned, although on some occasions he "scratched" his name on the movements.

Provenance:

Published in the Sandberg book, pages 418-419. Lot 201 of the Sandberg collection.

Jean-Louis Richter, Switzerland, RICHTER "RIVERSIDE LANDSCAPE" 18K four-colour gold, circa 1830

Estimate: CHF 50,000 – 100,000

An 18K four-colour gold and enamel pearl-set musical snuffbox. Rectangular box with cut corners, the enamelled lid panel with pearl-set borders, finely painted by Richter with a riverside landscape, a castle and mountains in the background, and a rowing boat with a family in the foreground. Side and base panels in four-colour guilloché with floral decoration and gilt foliage on a matt ground.

Original Antiquorum text adapted and expanded for the IPR. The pieces described were presented at the May 2023 auction in Geneva.

Valuations: 10 to 15 May

Antiquorum Genève SA

3 rue du Mont-Blanc

1201 Geneva

Auction: 14 and 15 May

Sunday 14 May, 5 pm – 1st session

Monday 15 May, 10 am – 2nd session

Monday 15 May, 2 pm – 3rd session

Hôtel Beau-Rivage – Salon de l'Impératrice

13 Quai du Mont-Blanc

1201 Geneva

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