{"id":29602,"date":"2025-09-30T09:57:22","date_gmt":"2025-09-30T07:57:22","guid":{"rendered":"https:\/\/vichy-encheres.com\/?p=29602"},"modified":"2025-11-07T10:30:10","modified_gmt":"2025-11-07T09:30:10","slug":"boites-musique","status":"publish","type":"post","link":"https:\/\/vichy-encheres.com\/en\/2025\/09\/30\/boites-musique\/","title":{"rendered":"Une collection de bo\u00eetes \u00e0 musique, ou l’art de faire chanter les objets"},"content":{"rendered":"\n
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Lors de nos ventes d\u2019instruments \u00e0 vent et \u00e0 cordes pinc\u00e9es de novembre 2025, une remarquable collection de bo\u00eetes \u00e0 musique sera pr\u00e9sent\u00e9e. T\u00e9moins rares et raffin\u00e9s de plus d\u2019un si\u00e8cle d\u2019ing\u00e9niosit\u00e9 m\u00e9canique et d\u2019\u00e9l\u00e9gance d\u00e9corative, ces merveilles miniaturis\u00e9es ont conquis les salons europ\u00e9ens tout au long du XIXe et d\u00e9but du XXe si\u00e8cle, s\u2019imposant comme objets de prestige, de curiosit\u00e9 et de divertissement. \u00a0Qu\u2019il s\u2019agisse de m\u00e9canismes \u00e0 cylindre, \u00e0 disque ou \u00e0 carton perfor\u00e9, int\u00e9gr\u00e9s dans des coffrets, meubles ou objets du quotidien transform\u00e9s, chaque pi\u00e8ce de cette collection oscille entre la prouesse technique et l\u2019objet d\u00e9coratif. \u00c0 travers cette vente, c\u2019est tout un pan de l\u2019histoire de la musique m\u00e9canique qui se dessine et nous r\u00e9v\u00e8le la diversit\u00e9 d\u2019un art oubli\u00e9.<\/p>\n<\/blockquote>\n\n\n\n

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Catalogue<\/a><\/div>\n\n\n\n
Vente du 14 novembre 2025<\/a><\/div>\n\n\n\n
Vente du 15 novembre 2025<\/a><\/div>\n\n\n\n
Contact<\/a><\/div>\n\n\n\n
Experts<\/a><\/div>\n\n\n\n
English version<\/a><\/div>\n<\/div>\n\n\n\n
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Origines et premiers d\u00e9veloppements<\/h1>\n\n\n\n
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\"Les<\/a>
Les enfants Graham, tableau de William Hogarth – 1742 – National Gallery – Londres.<\/figcaption><\/figure>\n\n\n\n
\"La<\/a>
La place du Molard, tableau de Germain Lacombe – 1843 – Mus\u00e9e d’art et d’histoire de Gen\u00e8ve – donation par souscription en 1903. \u00a9J.M. Yersin<\/figcaption><\/figure>\n\n\n\n
\"The<\/a>
The art of making clocks and watches – gravure de 1748.<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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La bo\u00eete \u00e0 musique appara\u00eet vers la fin du XVIII\u00e8me si\u00e8cle, issue de la miniaturisation des horloges musicales automatiques. Les premiers m\u00e9canismes \u201c\u00e0 cylindre\u201d sont attribu\u00e9s \u00e0 l\u2019horloger suisse Antoine Favre qui, en 1796, pr\u00e9sente un mod\u00e8le de bo\u00eete \u00e0 musique \u00e0 Gen\u00e8ve[1]<\/sup><\/a>, qu\u2019il qualifie de \u201ccarillon sans timbre ni marteau\u201d. Cet instrument repose sur un ressort entra\u00eenant un cylindre tournant \u00e0 rotation r\u00e9guli\u00e8re gr\u00e2ce \u00e0 un r\u00e9gulateur pour actionner des lames d\u2019acier accord\u00e9es. Cette innovation s\u2019inscrivait dans le climat d\u2019inventivit\u00e9 horlog\u00e8re qui r\u00e9gnait alors \u00e0 Gen\u00e8ve, o\u00f9 l\u2019on s\u2019effor\u00e7ait d\u2019int\u00e9grer des dispositifs sonores dans des montres, bagues ou cachets afin de conjuguer prouesse technique et raffinement esth\u00e9tique. Des artisans comme Isaac Piguet perfectionn\u00e8rent le dispositif et l\u2019int\u00e9gr\u00e8rent \u00e0 de petits objets de luxe[2]<\/sup><\/a>. Les premiers prototypes n\u2019eurent pas de succ\u00e8s commercial imm\u00e9diat, mais ils pos\u00e8rent les bases d\u2019une nouvelle industrie. D\u00e8s le d\u00e9but du XIXe si\u00e8cle, la bo\u00eete \u00e0 musique fut alors associ\u00e9e \u00e0 un univers de curiosit\u00e9s raffin\u00e9es et d\u2019objets de salon destin\u00e9s \u00e0 une client\u00e8le ais\u00e9e.<\/p>\n\n\n\n

Rapidement, la production se d\u00e9veloppa dans le milieu horloger suisse, \u00e0 Gen\u00e8ve, puis Sainte-Croix et Auberson, ainsi qu\u2019en France avec la manufacture L\u2019\u00c9p\u00e9e <\/em>\u00e0 Sainte-Suzanne. Les premi\u00e8res bo\u00eetes \u00e9taient souvent de taille modeste et pouvaient \u00eatre int\u00e9gr\u00e9es dans des petits coffrets d\u00e9coratifs, \u00e0 l\u2019exemple de la bo\u00eete \u00e0 musique sous forme de n\u00e9cessaire de couture de la collection en vente \u00e0 Vichy Ench\u00e8res. En placage d\u2019acajou, ce mod\u00e8le illustre comment l\u2019invention a s\u00e9duit la client\u00e8le bourgeoise d\u00e8s le d\u00e9but du XIXe en s\u2019int\u00e9grant aux objets domestiques.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Sadie, Stanley. ed. Musical Box<\/em>. The New Grove Dictionary of Music and Musicians<\/em>. MacMillan. 1980<\/p>\n\n\n\n

[2]<\/sup><\/a> Bulleid, Paul. Nicole Fr\u00e8res Music Boxes<\/em>. London: David & Charles, 1971.<\/p>\n<\/div>\n\n\n\n

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\"La<\/a>
La Serinette, tableau de Jean-Sim\u00e9on Chardin – 1751 – Mus\u00e9e du Louvre – \u00a9Grand Palais – R\u00e9union des Mus\u00e9es Nationaux<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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\"Bo\u00eete<\/a>
Bo\u00eete \u00e0 musique sous forme de n\u00e9cessaire \u00e0 couture.<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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\u00c2ge d\u2019or du cylindre et int\u00e9gration d\u00e9corative<\/h1>\n\n\n\n
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\"Musical<\/a>
Musical boxes de C. Paillard et Cie – publicit\u00e9 de 1898.<\/figcaption><\/figure>\n\n\n\n
\"Cabinotiers<\/a>
Cabinotiers au travail.<\/figcaption><\/figure>\n\n\n\n
\"Les<\/a>
Les ateliers des “cabinotiers” \u00e0 Gen\u00e8ve en 1869<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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De nombreuses manufactures voient le jour, parmi lesquelles Paillard, Mermod Fr\u00e8res, Reuge, Baptiste-Antoine Br\u00e9mond ou Nicole Fr\u00e8res, dont un mod\u00e8le de la collection en vente illustre le savoir-faire. Il s’agit d\u2019un coffret marquet\u00e9 \u00e9quip\u00e9 d\u2019un peigne de 96 lames, capable de jouer quatre airs issus du r\u00e9pertoire lyrique. L\u2019instrument combine excellence m\u00e9canique et qualit\u00e9 musicale, et son d\u00e9cor marquet\u00e9 t\u00e9moigne du go\u00fbt de la fin du XIXe si\u00e8cle.
La collection comporte \u00e9galement une bo\u00eete \u00e0 musique de la maison B.A. Br\u00e9mond, \u00e9galement bas\u00e9e \u00e0 Gen\u00e8ve. L\u2019instrument \u00e0 huit airs est particuli\u00e8rement bien fini, en bois marquet\u00e9, avec six marteaux de clochettes en forme d’abeilles.<\/p>\n<\/div>\n\n\n\n

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Cette recherche d\u00e9corative et sonore refl\u00e8te le raffinement des productions genevoises, qui associaient savoir-faire d\u00e9coratif et technique.<\/p>\n\n\n\n

C\u2019est durant le dernier tiers du XIXe si\u00e8cle, entre 1875 et 1895, que la bo\u00eete \u00e0 musique conna\u00eet son apog\u00e9e[1]<\/sup><\/a>. La diversit\u00e9 de leurs mod\u00e8les, allant des petits coffrets de voyage aux grands meubles musicaux, rencontre \u00e0 cette \u00e9poque une demande internationale.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Collectif. The Art of Sound: Early Days, Golden Age and Decline of Swiss Music Boxes<\/em>. Mus\u00e9e des Automates, Sainte-Croix, 2015.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Coffret<\/a>
Coffret de bo\u00eete \u00e0 musique marquet\u00e9, peigne de 96 lames.<\/figcaption><\/figure>\n\n\n\n
\"Bo\u00eete<\/a>
Bo\u00eete \u00e0 musique coffre en bois marquet\u00e9 de marque B.A.<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Objets du quotidien transform\u00e9s<\/h1>\n\n\n\n
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Cette forte demande s\u2019explique en partie gr\u00e2ce \u00e0 une particularit\u00e9 propre aux bo\u00eetes \u00e0 musique, \u00e0 savoir leur caract\u00e8re hybride. En effet, la bo\u00eete \u00e0 musique \u00e9tait fr\u00e9quemment int\u00e9gr\u00e9e dans des objets du quotidien d\u00e9tourn\u00e9s. Cette collection en rassemble plusieurs exemples, dont le \u201cn\u00e9cessaire de couture\u201d d\u00e9ja mentionn\u00e9, qui cache un m\u00e9canisme capable de jouer une m\u00e9lodie une fois remont\u00e9.
On pense \u00e9galement aux caves \u00e0 cigares musicales, au briquet en forme de phonographe, aux centres de table, ou encore au tableau-horloge repr\u00e9sentant un port de p\u00eache, dans lequel est int\u00e9gr\u00e9 un peigne compos\u00e9 d’environ cinquante deux lames.
Tous ces exemples appartiennent \u00e0 une m\u00eame typologie d\u2019objets du quotidien d\u00e9tourn\u00e9s et enrichis d\u2019un m\u00e9canisme musical.
Cette pratique, courante sous le Second Empire et la Troisi\u00e8me R\u00e9publique, illustre le go\u00fbt pour les objets transformables et les surprises m\u00e9caniques. L\u2019objet devient \u00e0 la fois utile et merveilleux, combinant fonction pratique et ludique.
Enfin, les albums-photos musicaux, avec leur cuir gaufr\u00e9 et leurs dorures, rappellent les arts d\u00e9coratifs du livre et les objets de d\u00e9votion ou de souvenir en vogue au XIX\u00e8me si\u00e8cle.
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\"Bo\u00eete
Bo\u00eete \u00e0 musique sous forme de n\u00e9cessaire \u00e0 couture.<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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\"Cave<\/a>
Cave \u00e0 cigares musicale dans le style japonisant.<\/figcaption><\/figure>\n\n\n\n
\"Cave<\/a>
Cave \u00e0 cigare musicale.<\/figcaption><\/figure>\n\n\n\n
\"Bo\u00eete<\/a>
Bo\u00eete \u00e0 musique repr\u00e9sentant un phonographe.<\/figcaption><\/figure>\n\n\n\n
\"Centre<\/a>
Centre de table sous forme de bo\u00eete \u00e0 musique.<\/figcaption><\/figure>\n\n\n\n
\"Centre<\/a>
Centre de table sous forme de bo\u00eete \u00e0 musique.<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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L\u2019av\u00e8nement du disque et la diversification des mod\u00e8les<\/h1>\n\n\n\n
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D\u00e8s le milieu du XIXe si\u00e8cle \u00e9merge un nouveau proc\u00e9d\u00e9, celui de la bo\u00eete \u00e0 musique \u00e0 disque. Invent\u00e9e en Allemagne par Paul Lochmann, \u00e0 Leipzig, cette technologie remplace le cylindre par un disque m\u00e9tallique perfor\u00e9 ou embouti sur une face. Chaque disque comporte plusieurs asp\u00e9rit\u00e9s en relief qui actionnent, via une roue \u00e9toil\u00e9e, les lames d\u2019acier du peigne. Cette innovation simplifie la fabrication du m\u00e9canisme et surtout facilite la production en s\u00e9rie des morceaux – les disques sont alors estamp\u00e9s en masse.
Elle permet ainsi d\u2019\u00e9largir consid\u00e9rablement le r\u00e9pertoire sans multiplier les cylindres. Les marques allemandes Symphonion, Polyphon ou Kalliope deviennent les leaders du march\u00e9 \u00e0 la fin du XIXe si\u00e8cle.
Plusieurs exemples de ces bo\u00eetes \u00e0 disques\u202fsont compris dans la collection pr\u00e9sent\u00e9e \u00e0 Vichy Ench\u00e8res, tels que deux Symphonions en coffret de bois marquet\u00e9.
Ces instruments, plus volumineux, refl\u00e8tent cette \u00e9poque de r\u00e9volution industrielle. Ils \u00e9taient souvent plac\u00e9s dans les salons ou caf\u00e9s, et certains mod\u00e8les \u00e9taient munis de monnayeurs, anc\u00eatres du juke-box.
Outre les cylindres et disques, apparaissent des syst\u00e8mes hybrides, des bo\u00eetes \u00e0 carton perfor\u00e9, des m\u00e9canismes entra\u00een\u00e9s par poches de soufflet, ou des combinaisons in\u00e9dites (orgues de salon \u00e0 cylindres, orgues de barbarie portatives).
L\u2019un des instruments les plus complexes et les plus rares de cette collection est incontestablement l\u2019harmoniphone – une bo\u00eete \u00e0 musique \u00e0 cylindre avec de petits tuyaux d\u2019orgue. D\u00e9cor\u00e9 d’une marqueterie florale, l\u2019instrument peut interpr\u00e9ter douze airs, dont des extraits d\u2019A\u00efda ou des Cloches de Corneville, qui refl\u00e8tent la diffusion populaire du r\u00e9pertoire lyrique.<\/p>\n<\/div>\n\n\n\n

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\"Symphonion<\/a>
Symphonion \u00e0 disque perfor\u00e9.<\/figcaption><\/figure>\n\n\n\n
\"Symphonion<\/a>
Symphonion en coffret de bois marquet\u00e9 \u00e0 disque m\u00e9tallique perfor\u00e9.<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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On d\u00e9couvrira \u00e9galement un exemple d\u2019organina de Thibouville de petites dimensions \u00e0 carton perfor\u00e9 qui jouait des chansons populaires, ou encore un petit orgue de salon \u00e0 cylindre et 55 tuyaux.
Ces instruments montrent la diversit\u00e9 atteinte au tournant du si\u00e8cle, que ce soit en termes de technique, de r\u00e9pertoire ou de style.
Signalons enfin une cithare m\u00e9canique de marque Triola, qui pr\u00e9sente quant \u00e0 lui une rare hybridation entre un instrument traditionnel et un m\u00e9canisme automatique novateur.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Cithare<\/a>
Cithare m\u00e9canique \u00e0 rouleau, de marque Triola.<\/figcaption><\/figure>\n\n\n\n
\"Petite<\/a>
Petite organina de Thibouville.<\/figcaption><\/figure>\n\n\n\n
\"Harmoniphone<\/a>
Harmoniphone d\u00e9cor\u00e9 de marqueterie florale.<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Styles d\u00e9coratifs et usages sociaux<\/h1>\n\n\n\n
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L\u2019esth\u00e9tique des bo\u00eetes \u00e0 musique refl\u00e8te les courants artistiques du moment. Face \u00e0 la demande, la bo\u00eete \u00e0 musique entre pleinement dans les arts d\u00e9coratifs et les \u00e9b\u00e9nistes de l\u2019\u00e9poque Napol\u00e9on III rivalisent de marqueteries et d\u2019ornements pour habiller les coffrets, reprenant des motifs en vogue, tels que la marqueterie florale de style Art Nouveau, le r\u00e9pertoire champ\u00eatre, les incrustations de nacre ou encore les laques japonisantes.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Bo\u00eete<\/a>
Bo\u00eete \u00e0 musique \u00e0 d\u00e9cor marquet\u00e9 champ\u00eatre.<\/figcaption><\/figure>\n\n\n\n
\"Harmoniphone<\/a>
Harmoniphone d\u00e9cor\u00e9 de marqueterie florale.<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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On retrouve notamment le go\u00fbt pour le japonisme typique de la fin du XIXe si\u00e8cle dans l\u2019esth\u00e9tique des bo\u00eetes \u00e0 musique. La collection en vente \u00e0 Vichy Ench\u00e8res comprend un bel exemple de ce style japonisant, avec cette cave \u00e0 cigares musicale s\u2019ouvrant par un syst\u00e8me d\u00e9ployant au niveau de la prise laissant d\u00e9couvrir six compartiments, pour dix-huit cigares.<\/p>\n\n\n\n

Signalons enfin la bo\u00eete figurant la cath\u00e9drale de Cologne, qui s\u2019inscrit dans le courant n\u00e9o-gothique et troubadour tr\u00e8s pris\u00e9 au XIXe si\u00e8cle.<\/p>\n\n\n\n

Du point de vue social, la bo\u00eete \u00e0 musique \u00e9tait un objet de prestige mais aussi de divertissement familial. On l\u2019offrait en cadeau de mariage ou on l\u2019exposait comme pi\u00e8ce de r\u00e9ception. Les albums photos \u00e0 musique en sont de parfaits exemples.<\/p>\n\n\n\n

Ces derniers dat\u00e9s de la fin du fin XIXe, souvent d\u2019origine anglaise, combinent l\u2019image – portraits, \u00e9v\u00e8nements c\u00e9l\u00e8bres – et le son, en fixant un petit mouvement qui jouait une m\u00e9lodie lorsque l\u2019album \u00e9tait ouvert.<\/p>\n\n\n\n

Les bo\u00eetes servaient aussi \u00e0 animer des r\u00e9ceptions, en attestent les centres de table ovale musical mont\u00e9s sur une base en bois marquet\u00e9 qui jouaient automatiquement un air lorsque l\u2019on tournait une cl\u00e9.<\/p>\n\n\n\n

Au tournant du XXe si\u00e8cle, la concurrence des nouveaux m\u00e9dias – phonographe, puis radio – provoque un net recul de la demande de bo\u00eetes \u00e0 musique, faisant des mod\u00e8les parvenus jusqu\u2019\u00e0 nous de v\u00e9ritables raret\u00e9s.<\/p>\n<\/div>\n\n\n\n

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\"Bo\u00eete<\/a>
Bo\u00eete \u00e0 musique servant de boite \u00e0 bijoux, en bronze, repr\u00e9sentant la cath\u00e9drale de Cologne.<\/figcaption><\/figure>\n\n\n\n
\"Cave<\/a>
Cave \u00e0 cigares musicale dans le style japonisant.<\/figcaption><\/figure>\n\n\n\n
\"Centre<\/a>
Centre de table sous forme de bo\u00eete \u00e0 musique.<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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\"Album<\/a>
Album photos bo\u00eete \u00e0 musique “The Balmoral Album”.<\/figcaption><\/figure>\n\n\n\n
\"Album<\/a>
Album photos \u00e0 musique.<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Depuis leurs origines dans les ateliers horlogers suisses du XVIIIe si\u00e8cle jusqu\u2019aux usines de l\u2019industrie m\u00e9canique du XIXe, les bo\u00eetes \u00e0 musique ont travers\u00e9 deux si\u00e8cles en se r\u00e9inventant sans cesse. Les instruments de la collection qui sera dispers\u00e9e \u00e0 Vichy Ench\u00e8res en novembre 2025 donnent un aper\u00e7u de cette diversit\u00e9 technique et d\u00e9corative. Elles montrent comment un m\u00eame principe m\u00e9canique a pu s\u2019adapter \u00e0 l\u2019\u00e9volution du go\u00fbt, tout en r\u00e9pondant \u00e0 des enjeux sociaux. Chaque mod\u00e8le de la collection rappelle que la bo\u00eete \u00e0 musique fut \u00e0 la fois objet d\u00e9coratif et un instrument m\u00e9canique, v\u00e9ritable reflet des courants artistiques et des usages domestiques de son temps.<\/p>\n<\/blockquote>\n\n\n\n

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A collection of music boxes, or the art of making objects sing<\/h1>\n\n\n\n
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During our November 2025 auction of wind and plucked string instruments, a remarkable collection of music boxes will be presented. These miniature marvels, which are rare and intricate testaments to more than a century of mechanical ingenuity and refined decorative art, conquered European salons throughout the 19th and early 20th centuries, establishing themselves as objects of prestige, curiosity and entertainment. Whether they featured cylinder, disc or perforated cardboard mechanisms, were fitted into boxes, furniture or everyday objects, each item in this collection is in part technical achievement and in part decorative object. This sale sheds light a whole chapter in the history of mechanical music and attests to the diversity of a forgotten art.<\/p>\n<\/blockquote>\n\n\n\n

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Catalog<\/a><\/div>\n\n\n\n
Sale of 14 November 2025<\/a><\/div>\n\n\n\n
Sale of 15 November 2025<\/a><\/div>\n\n\n\n
Contact<\/a><\/div>\n\n\n\n
Experts<\/a><\/div>\n\n\n\n
Version fran\u00e7aise<\/a><\/div>\n<\/div>\n\n\n\n
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Origins and early developments<\/strong><\/h1>\n\n\n\n
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\"Les<\/a>
Les enfants Grahampainting by William Hogarth – 1742 – National Gallery – Londres.<\/figcaption><\/figure>\n\n\n\n
\"La<\/a>
La place du Molard, painting by Germain Lacombe – 1843 – Mus\u00e9e d’art et d’histoire de Gen\u00e8ve – donation by subscription in 1903. \u00a9J.M. Yersin<\/figcaption><\/figure>\n\n\n\n
\"The<\/a>
The art of making clocks and watches -engraving of 1748.<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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The music box appeared towards the end of the 18th century, and stemmed from the miniaturization of automatic musical clocks. The first \u201ccylinder\u201d mechanisms are attributed to the Swiss watchmaker Antoine Favre, who, in 1796, exhibited a music box in Geneva [1], which he described as a \u201ccarillon without gong or hammer.\u201d This instrument relied on a spring driving a cylinder, rotating regularly thanks to a regulator, to activate tuned steel reeds. This novelty emerged during a period of intense watchmaking innovation in Geneva, where efforts were being made to integrate sound devices into watches, rings and seals, combining technical advances and visual refinement. Craftsmen such as Isaac Piguet perfected the device and incorporated it into small luxury items [2]. The first prototypes did not achieve immediate commercial success, but they laid the foundations for a new industry. From the beginning of the 19th century, the music box was associated with refined curiosities and salon objects intended for a wealthy clientele.<\/p>\n\n\n\n

Production quickly expanded in the Swiss watchmaking world, first in Geneva, then Sainte-Croix and Auberson, as well as in France with the factory L’\u00c9p\u00e9e<\/em> in Sainte-Suzanne. The first boxes were often of modest proportions and could be fitted into small decorative boxes, such as the music box in the form of a sewing kit from the collection on sale at Vichy Ench\u00e8res. This mahogany-veneered example illustrates how the invention appealed to bourgeois customers from the early 19th century by becoming part of household objects.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Sadie, Stanley. ed. Musical Box<\/em>. The New Grove Dictionary of Music and Musicians<\/em>. MacMillan. 1980<\/p>\n\n\n\n

[2]<\/sup><\/a> Bulleid, Paul. Nicole Fr\u00e8res Music Boxes<\/em>. London: David & Charles, 1971.<\/p>\n<\/div>\n\n\n\n

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\"La<\/a>
La Serinette, painting by Jean-Sim\u00e9on Chardin – 1751 – Mus\u00e9e du Louvre – \u00a9Grand Palais – R\u00e9union des Mus\u00e9es Nationaux<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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\"Bo\u00eete<\/a>
Music box in the form of a sewing kit.<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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The golden age of the cylinder and the decorative refinement<\/h1>\n\n\n\n
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\"Musical<\/a>
Musical boxes by C. Paillard et Cie – advertising from 1898.Musical boxes by C. Paillard et Cie – advertising from 1898.<\/figcaption><\/figure>\n\n\n\n
\"Cabinotiers<\/a>
Cabin crew at work.<\/figcaption><\/figure>\n\n\n\n
\"Les<\/a>
The “cabinotiers” workshops in Geneva in 1869<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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A number of manufacturers emerged, including Paillard, Mermod Fr\u00e8res, Reuge, Baptiste-Antoine Br\u00e9mond and Nicole Fr\u00e8res, whose craftsmanship is illustrated by an example from the collection on sale. It is an inlaid case fitted with a 96-note reed, capable of playing four tunes from the lyrical repertoire. The instrument combines mechanical excellence and musical quality, and its inlaid decoration reflects late 19th-century taste.<\/p>\n\n\n\n

The collection also includes a music box from B.A. Br\u00e9mond, who was also based in Geneva. The eight-tune instrument is particularly well finished, and made of inlaid wood, with six bee-shaped bell hammers.<\/p>\n<\/div>\n\n\n\n

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This decorative and musical refinement reflects the quality of Genevan production, which combined decorative and technical expertise.<\/p>\n\n\n\n

It was during the last third of the 19th century, between 1875 and 1895, that the music box reached its peak [1]. The range of models, from small travel cases to large musical furniture, met with international demand at that time.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Collectif. The Art of Sound: Early Days, Golden Age and Decline of Swiss Music Boxes<\/em>. Mus\u00e9e des Automates, Sainte-Croix, 2015.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Coffret<\/a>
Inlaid music box case, comb with 96 blades.<\/figcaption><\/figure>\n\n\n\n
\"Bo\u00eete<\/a>
B.A. inlaid wood music box chest.<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Transformed everyday objects<\/h1>\n\n\n\n
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This strong demand is partly explained by a particular characteristic of music boxes: their hybrid nature. Indeed, music boxes were frequently integrated into everyday objects. This collection brings together several examples, including the aforementioned “sewing kit”, which conceals a mechanism capable of playing a melody once wound up.<\/p>\n\n\n\n

Other examples include musical cigar humidors, a phonograph-shaped lighter, centrepieces and a painting-clock depicting a fishing port, which incorporates a comb composed of approximately 52 blades.<\/p>\n\n\n\n

All these examples are of the same type: everyday objects transformed and enhanced with a musical mechanism.<\/p>\n\n\n\n

This practice, common during the Second Empire and the Third Republic, illustrates the taste for transformed objects and mechanical surprises. The object became both useful and wondrous, combining practical and playful elements.<\/p>\n\n\n\n

Finally, the musical photo albums, with their embossed leather and gilding, recall the art of book decoration and the objects of devotion or souvenir in vogue in the 19th century.
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\"Bo\u00eete
Music box in the form of a sewing kit.<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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\"Cave<\/a>
Musical humidor in Japanese style.<\/figcaption><\/figure>\n\n\n\n
\"Cave<\/a>
Musical cigar cabinet.<\/figcaption><\/figure>\n\n\n\n
\"Bo\u00eete<\/a>
Phonograph music box.<\/figcaption><\/figure>\n\n\n\n
\"Centre<\/a>
Music box centrepiece.<\/figcaption><\/figure>\n\n\n\n
\"Centre<\/a>
Music box centrepiece.<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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The advent of the disc and the diversification of models<\/h1>\n\n\n\n
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A new technology emerged in the mid-19th century: the disc music box. This innovation, which was developed in Leipzig (Germany) by Paul Lochmann, replaced the cylinder with a perforated or stamped metal disc on one side. Each disc had several raised bumps that activated the steel blades of the comb via a star wheel. This innovation simplified the manufacture of the mechanism and, above all, allowed the pieces to be mass produced, as the discs were mass stamped.<\/p>\n\n\n\n

It also allowed for a considerable expansion of the repertoire without increasing the number of cylinders. The German brands Symphonion, Polyphon and Kalliope became the market leaders at the end of the 19th century.<\/p>\n\n\n\n

Several examples of these disc boxes are included in the collection presented at Vichy Ench\u00e8res, such as two Symphonions in inlaid wooden cases.<\/p>\n\n\n\n

These larger instruments reflect an era of industrial revolution. They were often placed in living rooms or caf\u00e9s, and some models were equipped with coin-operated systems, and were the forerunners of the jukebox.<\/p>\n\n\n\n

In addition to cylinder and disc operated boxes, hybrid ones appeared, including perforated cardboard boxes, boxes with mechanisms driven by bellows pockets, and innovative combinations (cylinder parlour organs and portable barrel organs).<\/p>\n\n\n\n

One of the most complex and rare instruments in this collection is undoubtedly the harmoniphone \u2013 a cylinder music box with small organ pipes. This instrument, which is decorated with floral inlays, can play 12 tunes, including excerpts from Aida<\/em> and Les Cloches de Corneville<\/em>, reflecting the popularity of the operatic repertoire at the time.<\/p>\n<\/div>\n\n\n\n

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\"Symphonion<\/a>
Symphonion with perforated disc.<\/figcaption><\/figure>\n\n\n\n
\"Symphonion<\/a>
Symphonion in inlaid wooden case with perforated metal disc.<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Also in the collection are an example of a small Thibouville organina with perforated cardboard that played popular songs, and a small cylinder parlour organ with 55 pipes.<\/p>\n\n\n\n

These instruments attest to the diversity of these instruments at the turn of the century, in terms of technology, repertoire and style.<\/p>\n\n\n\n

Finally, we should mention a mechanical zither from the brand Triola, which is unusual for incorporating an innovative automated mechanism in a traditional instrument.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Cithare<\/a>
Triola mechanical roller zither.<\/figcaption><\/figure>\n\n\n\n
\"Petite<\/a>
Small organina from Thibouville.<\/figcaption><\/figure>\n\n\n\n
\"Harmoniphone<\/a>
Harmoniphone decorated with floral marquetry.<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Decorative styles and social uses<\/h1>\n\n\n\n
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The aesthetics of music boxes reflect the artistic trends of the time. In response to demand, the music box became part of the decorative arts, and cabinetmakers of the Napoleon III era rivalled one another in adorning the boxes with marquetry and ornamentation, adopting fashionable motifs such as Art Nouveau floral marquetry, country repertoire, mother-of-pearl inlays and Japanese-style lacquers.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Bo\u00eete<\/a>
Music box with country-style inlaid decoration.<\/figcaption><\/figure>\n\n\n\n
\"Harmoniphone<\/a>
Harmoniphone decorated with floral marquetry.<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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In particular, the taste for Japonism, typical of the late 19th century, is reflected in the aesthetics of music boxes. The collection for sale at Vichy Ench\u00e8res includes a fine example of this Japanese style in the form of the musical humidor opening with a folding system at the handle, revealing six compartments for 18 cigars.<\/p>\n\n\n\n

Finally, let us mention the box depicting the Cologne Cathedral, which is part of the neo-Gothic and troubadour movement that was highly sought after in the 19th century.<\/p>\n\n\n\n

From a social perspective, the music box was an object of prestige, but also of family entertainment. It was given as a wedding gift or displayed as a reception room piece. Musical photo albums are perfect examples of that.<\/p>\n\n\n\n

These albums, dating from the late 19th century and often of English origin, combine image \u2013 portraits, famous events \u2013 and sound, by setting in motion a small movement that played a melody when the album was opened.<\/p>\n\n\n\n

The boxes were also used to entertain at parties, as exemplified by the oval musical centrepieces mounted on an inlaid wooden base that automatically played a tune when a key was turned.<\/p>\n\n\n\n

At the turn of the 20th century, competition from new media \u2013 the phonograph, then the radio \u2013 caused a sharp decline in demand for music boxes, making the examples that have survived to this day true rarities.<\/p>\n<\/div>\n\n\n\n

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\"Bo\u00eete<\/a>
Bronze music box used as a jewellery box, depicting Cologne Cathedral.<\/figcaption><\/figure>\n\n\n\n
\"Cave<\/a>
Musical humidor in Japanese style.<\/figcaption><\/figure>\n\n\n\n
\"Centre<\/a>
Music box centrepiece.<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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\"Album<\/a>
The Balmoral Album” music box photo album.<\/figcaption><\/figure>\n\n\n\n
\"Album<\/a>
Music photo album.<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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From their origins in 18th-century Swiss watchmaking workshops to their mass production in 19th-century mechanical factories, music boxes have spanned two centuries, constantly reinventing themselves. The instruments in the collection that will be sold at Vichy Ench\u00e8res in November 2025, provide a glimpse of their technical and decorative diversity. They show how the same mechanical principle was adapted to respond to changing tastes and uses. Each example in the collection reminds us that the music box was both a decorative object and a mechanical instrument, and a testament to the artistic trends and domestic uses of its time.<\/p>\n<\/blockquote>\n\n\n\n

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\ud83d\ude80 Suivez-nous !<\/strong><\/h2>\n\n\n\n