David Hubert, London

• Movement: gilded full plate, decoratively pierced and engraved masked balance cock, plain flat three-arm balance, fusee and chain, square baluster pillars, movement signed and numbered D. Hubert, London, 2581
• Dial: white enamel, Roman numerals, outer Arabic minute ring, blued steel beetle and poker hands
• Cases: plain gold inner case, winding aperture to rear, with maker's mark AR or AP conjoined incuse possibly for Adam Roumieu junior with London hallmark for 1737, and scratch numbered 2581 to inner bezel, outer case with repoussé scene depicting Cybele, the Earth goddess, flanked by lions, begging for the Sun's return within a symmetrical cartouche of shell, scroll work and foliage against a stippled ground and masked at the north and south, signed FFF possibly for François Fourestier Fecit, bezel similarly decorated

Atkinson Collection
Christie's London, 27th October, 1953, lot 142

T. P. Camerer Cuss, The Camerer Cuss Book of Antique Watches, plate 55. 
Terence Camerer Cuss, The English Watch 1585-1970, p. 190, pl. 103.
Richard Edgcumbe, The Art of the Gold Chaser, fig 20

movement working when wound at the time of cataloguing. dial with small damage to 6 by the catch, otherwise in good condition, hands too in good condition. Inner case with minor scratches and scuff throughout, some of denting to the band just beneath the centre of the case back. outer case condition very good, with the repousse and embossing retaining excellent detail, perhaps some slight rubbing to the most prominent features.
"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."

David Hubert was an eminent Hugenot watchmaker who was made Free of the Clockmakers’ Company in 1714, and subsequently became Master in 1743. Examples of his watches have at various times been in prominent watch collections; including the Ilbert, Dennison and Buckley collections, and a repeating watch movement by Hubert can be found in the collection of the Worshipful Company of Clockmakers in London.

The repoussé scene to the outer case is of exceptional quality and there is a wonderful clarity to the decorative scheme. In his book, The Art of the Gold Chaser, Richard Edgcumbe discusses the present watch and notes that François Fourestier, to whom the repoussé scene is attributed, was, like David Hubert, a Hugenot. Edgcumbe also points out that the superb masks which are chased and embossed to the north and south of the scene “look back” to the work of the painter and engraver Jean Berain (1638-1711) [see op. cit. p.45]. It is interesting to note that, until 1738-1740, cartouches were generally symmetrical whilst soon thereafter a degree of asymmetry is generally present.  On the present watch, the elaborate scrollwork east and west are the same, however, the scrolls north and south are not. The white enamel dial is of especially fine quality and the extra turning to the blued steel minute hand was fashionable at this date.