ELLICOTT, LONDON | A MAGNIFICENT GOLD AND ENAMEL HALF QUARTER REPEATING PAIR CASED VERGE WATCH WITH ENAMEL SCENE BY GEORGE MICHAEL MOSER1760-1761, NO. 4819

• Movement: gilded full plate, cylinder escapement, decoratively pierced and engraved balance cock, diamond endstone, fusee and chain, cylindrical pillars, two polished steel hammers repeating on a bell to the inside of the back, gilt metal dust cap, movement and dust cap signed and numbered Ellicott, London, 4819, bell signed Drury• Dial: white enamel, Roman numerals, outer Arabic minute ring, blued steel beetle and poker hands• Cases: gold inner, the back with winding aperture, engraved scrolling decoration, the band pierced for sound emission and engraved with scrolling foliage, a pastoral scene beneath the bow, a grotesque mask to the base, indistinct case maker's mark and numbered 4819 • gold outer with polychrome painted enamel scene depicting Apollo and the Muses, surrounded by an embossed cartouche, the band and bezel pierced for sound emission and engraved with scrolling foliage, signed beneath the scene G. M. Moser

Uto Zurich, 17 October 1977, lot 122
Christie's Geneva, 12 November 1986, lot 322

Richard Edgcumbe, The Art of the Gold Chaser, Oxford, 2000, p.110

Dial: There is a crack and a very small chip to the edge of the enamel at VII. Case:Inner case with scuffs throughout consistent with age and wear. Enamel scene with multiple light scratches, there does not appear to be any cracks, overall in good condition. Movement: Running at the time of cataloguing. Striking mechanism not working. .
"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."

In his book, The Art of the Gold Chaser, Richard Edgcumbe describes the scene to the case back thus: "Apollo and the four muses: from left to right, Melpomène with a sceptre, Calliope with the text of an epic poem, Clio with a laurel wreath and a book, and, probably, Polyhymnia." Edgcumbe further notes that: "The figure of Calliope derives directly from an engraving executed by Edmé Jeaurat in 1719 after Nicolas Vleughels entitled Apollon, Melpomène, Calliope, Clio...the figure of Polyhymnia may have her origins in another engraving, Uranie et Polymnie, in the same sequence. The figure of Apollo, which is different from Vleughels Apollo has the same attitude as a figure of Victory in a roundel after Antoine Coypel."  George Michael Moser was one of the most prominent chasers and enamel miniaturists of his day. He moved to London in 1726, where he worked for a coppersmith and then a cabinet maker. His skill was such that he became drawing-master to King George III and designed the Great Seal for him. Throughout his career, Moser worked mainly with Thomas Mudge, George Graham, William Webster, and John Ellicott. He specialized in figural renderings and often used classical sources for his scenes. He was widely respected in the artistic field, and was one of the original founders of the Royal Academy along with Sir Joshua Reynolds. Moser died in January of 1783, and was honoured in his obituary as “the father of the present race of artists” see, Edgcumbe, The Art of the Gold Chaser, pp. 85-90.

Thompson, D., The Watches of Ellicotts of London: Part 2, Antiquarian Horology, No. 5, Vol. 23, Autumn, 1997