rectangular, the gilt-metal cagework mounts set with panels of mother of pearl engraved with anthemion and leaf motifs, the lid with openwork gallery, the handles formed as garlands slung between rams' heads, on hoof and leaf supports, the lid mirror-lined, a red velvet tray with pincushion applied with initials: SDE and complete with implements chased with flowers in three-coloured golds comprising: two pairs of spools for thread, a needle case, a desk seal with blank matrix, a bodkin, a pencil holder, a thimble, a cut-glass scent bottle with glass stopper and gold cap, and steel awl, pen knife and scissors with matching gold handles, all centred on an oval gold lid chased with a spray of summer flowers on a sablé ground, opening to reveal the feathered automaton, the majority of implements struck with Paris petite garantie for 1819-1838, the scissors with maker's mark of Antoine Beauvisage fils (1810-1832), the movement struck on exterior bar and plate with makers' mark FR in an oval for Frères Rochat and on the interior with makers' mark and stamped and incised numeral: 94, with two keys, for coffer and movement

A rare piece in very good condition, apart from one small gilt metal mount on rim of lid broken and two with solder repair. The front and left side mother of pearl panel have one small crack each. Mechanism currently functionning but not guaranteed by Sotheby's and would benefit from professonial cleaning. The silk lining probably later and consequently interior gold mounts slightly dented to fit the silk. Original mirror with some time flaws. Photograph of the movement available upon request
"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."

Fit for a princess – indeed the rare gold and jewelled necessaires of this calibre and quality usually belonged to royalty and even more so a splendid necessaire which also contained the surprise of an automaton singing bird which magically sprang from its nest and sang with a sweet trill.
A very similar ‘palais Royal’ sewing necessaire with jewelled ornament, singing bird and musical movements, belonged to Princess Marie Clothilde of Savoy (catalogue, Collection Hans Wilsdorf, Geneva, 1970, no. 73). An ebony-cased example, now in the British Royal Collection was the gift of Empress Elizabeth of Russia, wife of Alexander I, to a compatriot and was later given to Queen Mary. A Geneva gold, pearl and enamel singing bird necessaire was the property of King Farouk of Egypt (Palace Collections, Sotheby’s, 12 March 1954, lot 553). A jewelled gold and painted enamel necessaire, Moulinié, Bautte & Moynier, Geneva, made for Caroline of Brunswick (1768-1821), unhappy consort of George IV, was sold, Sotheby's Geneva, 15 May 1990, lot 60, collection of the British Rail Pension fund - Fig.2). Sadly the original owner of the present magnificent specimen is not recorded.

What is known is that the singing bird movement is struck with the mark (FR in an oval - Fig.1) attributed to the celebrated Swiss mécaniciens, Frères Rochat, as are all the previously-cited examples where the marks are known. It is probable, however, that the mechanical movements were exported to Paris where the  outer cases and contents would be made, assembled and available to order from the smartest establishments.
The implements in the present necessaire were supplied by Antoine Beauvisage fils,  a well-known Parisian supplier  of these small and fragile implements who first entered a maker’s mark in 1810/11. Beauvisage also supplied the fittings for an ebony-cased singing bird necessaire, similar to that in the British Royal Collections, and now in the Goldman Collection (Sharon & Christian Bailly, Oiseaux de Bonheur, Geneva, 2001, illus. p. 220). It is evident that the present necessaire was considered too special for use as remarkably all the fittings are intact – so often an impatient owner has improperly used the scissors thus breaking the points of the blades or has forgotten to return a spool full of thread to its right place. This restraint is all the more remarkable given how much of an early 19^th century l🅷ady’s time was spent at ornamental as well as practical need🏅lework.

It has long been considered that the important works attributed to the Frères Rochat bridged the gap in the history of singing birds in Switzerland between the late 18^th century innovations of the Jacquet-Droz & Leschot or Jacob Frisard, and the Rolls Royce-like mechanism produced by the mid 19^th century Bruguier family.
Their creations retained some of the imagination of the former together with the smooth efficiency of the latter. Using the extant correspondence of Jean-Frédéric Leschot, Alfred Chapuis was the first to record that David Leschot (1746-1812) and sons of Le Brassus in the vallée du Joux supplied blanks of singing bird mechanisms to Leschot in the early 1800s (Alfred Chapuis and Edouard Gélis, Le Monde des Automates, Paris, 1928). It was then assumed that these sons were the Frères Rochat who appeared to establish themselves as extremely successful mécaniciens in Geneva from around 1808. More recent researches undertaken by Sharon and Christian Bailly, however, suggested that the progression might not have been so straightforward given that Rochat was an extremely common name in an area where watch and clockmaking was the leading source of employment (Oiseaux de Bonheur, Geneva, 2001, pp. 211-260).
It proved not possible to identify exactly which Rochats made up the firm of Frères Rochat which appears to have continued in business until at least 1826. David Rochat had 5 sons and it is probable that at least initially the firm included two or more of these sons. One might venture to suggest that, as in the case of J.F. Bautte, another succesful Geneva merchant, various other members of the family carried on the firm at different times but still using the prestigious trading name and marks.
The early number 94 on the movement and the rather complicated external starting mechanism not found on any of the other singing bird necessaires would suggest that the movement was made some years earlier than the implements.
Be that as it may the Rochat mark is a sign of the highest quality, as seen here cont💮ributing to this magnificent necessaire, fit for a princess.