Thomas Mudge, London

• Movement: gilded full plate, cylinder escapement, pierced and foliate engraved masked balance cock, diamond endstone, plain flat balance, repeating on a bell to the inside case back, turned pillars • gilt metal dust cap • movement and dust cap signed Tho. Mudge, London, movement numbered 279
• Dial: white enamel dial, Roman numerals, Arabic outer minute ring, gold beetle and poker hands
• Case: gold inner with floral pierced and engraved band inhabited by birds, flowers and dolphin heads, grotesque mask engraved to the base, the centre of the back with engraved flower, London hallmarks for 1755 and maker’s mark TC possibly for Thomas Colley or Thomas Carpenter • gold outer case with repoussé scene depicting Erminia and the Shepherds, signed G.M. Moser F. beneath the scene, bezel pierced and chased with shell and scrollwork between panels of pierced and engraved foliage, a snake around the push piece, pulse piece to the bezel between 4 and 5 o’clock

Christie’s Geneva, 12th November 1986, lot 323 (illustration captioned as lot 322 on p.81)

Terence Camerer Cuss, The English Watch 1585-1970, 2009, p. 208, pl. 118
Richard Edgcumbe, The Art of the Gold Chaser, 2001, p. 107, pl. XV, and figs. 91a & e

Movement running at time of cataloguing, repetition work not currently operating, will need a service. Dial in good overall condition. Inner case in good condition with some very minor depressions to the band, case decoration remains clear. Outer case in excellent condition with clear definition to the scene.
"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."

George Michael Moser’s exceptional repoussé scene to the case back is taken from Tasso’s epic poem of the first Crusade, ‘Jerusalem Delivered’. Erminia, daughter of the
Saracen king, dismounts her horse and talks to a shepherd.  The shepherd’s wife can be seen to the left of the scene.  Erminia is searching for the Christian knight Tancred whom she loved and believed to be wounded, having been sent for by Tancred’s armour bearer, Vafrino. Erminia is disguised in the armour of Clorinda, a female warrior whom Tancred had loved but who he had tragically killed in battle (see: Halls Dictionary
of Subjects and Symbols in Art, 1974, pp. 115-116 & 296).  Moser’s design for the scene in pen and ink wash and a further preparatory sketch are illustrated together with the present watch in Edgcumbe’s, The Art of the Gold Chaser, pp. 107-8 & figs. 91a, c, d, e & col. pl. XV.

George Michael Moser, born in January 1706 in Switzerland, was one of the most prominent chasers of his day. He worked for his father, also a chaser, until 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 known and respected in the artistic field, was one of the original founders of the Royal Academy along with Sir Joshua Reynolds, and was elected Keeper of the Academy by King George III in 1768. Moser died in January of 1783, and was honoured by Sir Joshua Reynolds in his obituary as “the father of the present race of artists” see, Edgcumbe, The Art of the old Chaser, pp. 85-90.

For a note on Thomas Mudge, see lot 28