• gilt brass full plate cylinder movement, pierced and engraved balance bridge sunken into the plate, barrel wound by a crescent-shaped gold winding weight on a steel arm, repeating on two large gongs • white enamel eccentric dial, Arabic numerals, subsidiary dials for date and month in French, gold hands, outer ring calibrated for minutes • engine-turned case back and band • dial and movement signed, dial band signed Le Roy Au Cid Evant Palais Royal, case stamped GM surmounted by a crescent

Lydia Thompson Morris, gifted to the Philadelphia Museum of Art in 1925
Philadelphia Museum of Art, Inv. no., 1925-27-258

Part of the Permanent Collection at the Philadelphia Museum of Art

The movement will run, however it will require servicing, it is repeating correctly. Dial with a small hairline crack at 8. The case with slight wear to the engine-turning but overall in very good condition.
"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."

Bazile-Charles Le Roy was a second generation watch maker of great repute.  He received his formal training at the firm founded by his father, Bazile Le Roy, in 1764, which remained intact until its closing in the 1960s.  However, in the latter part of the 20^th century, the firm was revived and currently produces renowned complicated watches under the name of L. Leroy & Cie.

Bazile-Charles Le Roy began making watches in 1788 at his workshops in Paris. He sold approximately 300 watches per year, some using imported Swiss ebauches that were then finished in his workshop. Le Roy personally crafted approximately 50 watches which were made entirely in his workshop. These watches were the most expensive and of the highest quality. As a result, only the most prestigious collectors were able to purchase these pieces.

Le Roy was one of the few French makers that supplied to Louis XVI and Marie Antoinette.  Le Roy was forced to change his name during the French Revolution due to his professional ties to the French Royal family and the insinuated meaning of his name - “Le Roy”, or le Roi, meaning “The King” – and adopted the anagram “Eylor” in order to preserve his reputation.  Following “the Reign of Terror”, he was able to change his name back to Le Roy or Charles Le Roy.

The marks on this piece scan almost a decade: the case has the pre-Revolutionary charge and discharge marks for Paris, 1789.  The phrase “ci-devant Palais Royale” in the engraved signature suggests that it was added after the abolition of noble titles in 1792, and the lozenge-shaped maker’s mark of Guillaume Mermilliod is first registered in 1798.

The previous owner, Lydia Thompson Morris (1849-1932), was prominent resident of Philadelphia and an important benefactor of the Philadelphia Museum of Art. Her lineage spans several of Philadelphia’s most preeminent colonial families. Including the first mayor of Philadelphia, Anthony Morris, and distantly from the first governor of Pennsylvania and signor of the U.S. Constitution, Thomas Mifflin. In 1926, she left the Morris Country home, Cedar Grove, to the Philadelphia Museum of Art.