Rare French gold pre hairspring verge watch Circa 1650

Rare gold and enamel pre hairspring verge by P. Belon
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An extremely rare and small French gold and turquoise enamel pre balance spring verge watch, circa 1650. The watch showcases a gilded full plate movement with a verge escapement, a decoratively pierced balance cock, and a long foot engraved with flowers and foliage. It also includes a flat steel balance, fusee with woven wireline, and urn shaped pillars and is signed by P. Belon of Paris. The enamel dial features a white chapter ring with black and gilded Roman numerals, half hour divisions, a turquoise center, and gold floriated hands. The case is crafted from yellow gold with a turquoise base and showcases raised semi roundels of white enamel with black highlights, interspersed with shaded orange roundels. The case back is adorned with a centered flower in matching enamel tones and the round pendant is similarly decorated. The inside back features a stylized black enamel flower and the bezel has gold tags for crystal retention.
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Diameter: 36 mm
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Signed: P. Belon Paris
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The dial shows some visible hairline cracks in the enamel and signs of repair. The case has visible repairs to the enamel on the outer bezel around 8 o’clock and 11 o’clock, as well as some other visible repairs around 4 o’clock and 7 o’clock. There is a chip around 11 o’clock under the bow, along with some visible irregularities from firing on the inside and outside of the case. Additionally, there are some small chips to the pendant. The movement is running at the time of cataloguing.
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Pierre Belon became master in 1623, later being appointed Valet de Chambre both to the King and the Queen. His son, also named Pierre, followed in his father’s footsteps and also held Royal appointments. He became a watchmaker to the Queen in 1645 and to the King in 1649. The present lot was previously sold by Antiquorum Geneva on April 12, 2003, lot 491. The technique of using several layers of enamel to create relief was used when the artist wished to give greater depth to a decor, which was often repetitive, geometrical or floral, without using the technique of bosselé, in which the support was first repoussé, then painted.