Moser was among the most prominent artists of his day in England. He became the first Keeper of the Royal Academy of Art. The high regard in which he has always been held has resulted in virually all of his work being recorded. The enamel of the present watch is an exception, not being previously illustrated in any book known to us. George Michael Moser (1706 ?1783) The Gentleman?s magazine reported that on 30th January 1783 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, beside two gentlemen?s coaches, were in the procession". Reynolds, in his obituary published the same day, said of Moser that as a gold chaser "he has always been considered as holding the first rank" and as the first Keeper of the Royal Academy "he possessed a universal knowledge in all branches of painting and sculpture which perfectly qualified him for the place that he held". Reynolds also wrote that he "was father of the present race of Artists," and that in a later character sketch "Few have passed a more inoffensive or perhaps more happy life; if happiness or the enjoyment of life consists in having the mind always occupied, always intent upon some useful art?" (Malone, l xxvi n). Moser worked as a chaser, enameler, and designer not only for watchcases and gold boxes but for such things as candlesticks, and he contributed to the decorations for the Rotunda at Vauxhall Gardens. He was born in Schaffhausen on the 17th January 1706 and learnt chasing and gilding from his father Michael, a coppersmith. He moved to Geneva in 1725 and then to London in 1726. By the early 1730s Moser appears to have started to work for John Valentine Haidt the goldsmith and "Watch Chaser". Moser began a life school with him which was, according to the Diary of Joseph Farington, "a little Academy for drawing from a living model?". By 1737 Moser was working from his own address, Craven Buildings off Drury Lane, and his reputation was soon firmly established. He was at the vanguard of the revival of interest for enamel watchcases in the early 1750s. He was introduced to royal patronage by Lord Bute and, among other work for the royal family, designed the great seal of George III. For Queen Charlotte he painted enamel portraits of the royal children. Moser continued to work at least until the late 1770s, and was active for the Royal Academy until the end of his life. His association with Thomas Mudge began at the very beginning of both their careers. Mudge watch number 22 has an inner case hallmarked for 1738-39 and has the earliest recorded signed repousse by Moser, while the last known association is a watch by Mudge with his partner Dutton, number 1062, of about 1775. There are about twenty surviving enamel cases signed by Moser, but just two or three are after Sir Joshua Reynolds. One of these is of a portrait of Lady Caroline Spencer, wife of the fourth Duke of Marlborough, and another is, of course, Hope Nursing Love.