Repeating Verge in Gold Repousse Case by Moser


Signed  Jno Pyke London
Circa   1760
A mid 18th Century English quarter repeating verge in fine gold repousse case by Moser.
Diameter   50 mm       Depth   15.5 mm

1 in stock



A mid 18th Century English quarter repeating verge in fine gold repousse case by Moser.  Full plate fire gilt movement with five turned baluster pillars, signed gilt dust cover.  Silver pierced and engraved masked cock with diamond endstone, silver regulator disc. Fusee and chain with worm and wheel barrel setup between the plates. Plain three arm gilt balance, blue steel spiral hairspring. Push pendant quarter repeating on a bell in the case.  Unusual white enamel dial with blue Roman and Arabic numerals, blue steel beetle and poker hands.  Fine 22 carat gold pair cases.  The inner pierced and engraved around the edge and a further band closer to the centre, gold push pendant for the repeat.  Fine gold outer case the bezel and edge of the back pierced chased and engraved.  The central scene depicting Orpheus and Eurydice in chased and engraved repousse work, signed “Moser” below within the rococo border.  

This case is illustrated in “The Art of the Gold Chaser in Eighteenth-Century London” by Richard Edgcumbe, figure 113, listed as Moser no. 47.  The book devotes over 40 pages of text to Moser's work in addition to the many illustrations included.  Other examples of Moser's work house movements by eminent watchmakers of the period such as Graham, Delander, Mudge, Ellicott and Vulliamy.

George Michael Moser was born in Schaffhausen on January 17, 1706.  He studied chasing and gilding under his father Michael, a coppersmith. He moved to London in 1726 and worked for John Valentine Haidt, goldsmith and watch chaser.  By 1737 he was working on his own account at Craven Buildings off Drury Lane.  In addition to chasing he also produced fine enamel cases of which only about twenty are known to survive.  He designed the great seal of George III and painted enamel portraits of the royal children for Queen Charlotte.  Moser continued to work at least until the late 1770's, and was active for the Royal Academy until the end of his life.  On January 30, 1783, the “Gentleman's Magazine” reported that Moser “was followed to his grave in grand funeral pomp by all the capital artists, Sir Joshua Reynolds at their head as chief mourner, Sir William Chambers, etc. Ten mourning coaches, besides two gentlemen's coaches, were in the procession”