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拍品專文
Preserved in wonderful condition throughout, the present watch, with its combination of a lavishly decorated case and a high-quality movement is the perfect example for a timepiece made for a Chinese dignitary. It is amongst the most impressive Chinese market watches to be offered in public in recent years.
The superb quality and depth of the enamel decoration is testament to the celebrated art of enamel miniatures originating from Geneva in the 19th century. It was not unusual during that period that even an artist of this stature would leave his work unsigned. Although an attribution to Jean Abraham Lissignol (1749-1819) has been suggested, the enamel on the present watch can however be confidently attributed to Jean-Louis Richter (1766-1841), one of the most celebrated enamel painters working in Geneva in the early 19th century. Indeed, he was famous for his use of the distinctive combined techniques of guilloché, together with painted and translucent enamels, a technique, it is said, that he was the first to discover and of which the present watch is a spectacular example.
Richter’s work is represented in many of the world's most renowned museums and important private collections, notably Geneva's Patek Philippe Museum.
The exquisitely painted enamel scene has, in the established tradition of the time, been copied from an engraving of the subject by Peltro William Tomkins (1759-1840) after the original painting by Charles Ansell (b.1752) and published in 1787.
The subject depicts Arthur and Emmeline in a forest glade; Emmeline, whose eyesight has been magically restored, holds up a pocket mirror and, looking at her reflection, catches sight of that of King Arthur, who stands behind her to left in armour, sweeping a bow.
The scene is inspired by Act 3, Scene 2 of John Dryden’s opera ‘King Arthur’ or ‘The British Worthy’, with music by Henry Purcell, first performed in London in 1691. It enjoyed a revival in the late 18th century when it was performed in London at the Theatre Royal, Drury Lane. It was likely this revival by David Garrick (1717-1779) that inspired Charles Ansell to make his painting of the subject.
Tomkins’ original engraving shows Arthur and Emmeline in a naturalistic wooded glade with another female figure present to the right of Emmeline. In the painting of the enamel of the present watch, the artist has adapted the scene by omitting the third figure, he has also provided a more classical setting with the inclusion of a stone pillar and balustrade. The wooded landscape has been reduced and ingeniously uses the translucent green guilloché background to suggest the feeling of the deeply wooded setting.
William Ilbery or Ilbury (c1760-1851)
was a celebrated watchmaker from London, renowned for his exceptional timepieces made for the Chinese market. In 1836 Ilbery settled in Fleurier, left for Macao in 1839 and then to Canton. There he was known to have become friendly with Bovet and they met regularly, even though they were rivals not only in business but also in their private lives. Both were courting Anna Vaucher, daughter of Charles-Henry Vaucher of Fleurier, one of Bovet's competitors in Canton. Ilbery was in fact engaged to Anna Vaucher and even though he was constantly on travels Anna remained faithful to him and resisted the proposals of Bovet who hoped one day to win her over. Sadly, no marriage ever took place since Anna became ill and died in 1845.
Ilbery's early watches were very much in the English style, fitted with full plate movements and duplex escapements. His later movements showed the influence of the free-standing barrels of the Lepine calibre as used in Jaquet Droz's Swiss production signed in London and that of William Anthony, who worked in London. William Ilbery is known as the ‘father’ of the Chinese watch. The cases Ilbery used for his timepieces were always of highest quality, lavishly decorated by the best Genevan enamellists of the time, notably Jean-Louis Richter and Jean-François-Victor Dupont.
Jean-Louis Richter (1766-1841)
Born in Geneva in 1766, he learned his art from Etienne and Philippe-Samuel-Théodore Roux. He is perhaps the most well-known and regarded of the early 19th century enamel painters who specialised in working on watches and gold boxes. He is most renowned for his lakeside and alpine landscapes and is credited with developing the technique of using a translucent background over engine-turning to create impressions of day or night.
The superb quality and depth of the enamel decoration is testament to the celebrated art of enamel miniatures originating from Geneva in the 19th century. It was not unusual during that period that even an artist of this stature would leave his work unsigned. Although an attribution to Jean Abraham Lissignol (1749-1819) has been suggested, the enamel on the present watch can however be confidently attributed to Jean-Louis Richter (1766-1841), one of the most celebrated enamel painters working in Geneva in the early 19th century. Indeed, he was famous for his use of the distinctive combined techniques of guilloché, together with painted and translucent enamels, a technique, it is said, that he was the first to discover and of which the present watch is a spectacular example.
Richter’s work is represented in many of the world's most renowned museums and important private collections, notably Geneva's Patek Philippe Museum.
The exquisitely painted enamel scene has, in the established tradition of the time, been copied from an engraving of the subject by Peltro William Tomkins (1759-1840) after the original painting by Charles Ansell (b.1752) and published in 1787.
The subject depicts Arthur and Emmeline in a forest glade; Emmeline, whose eyesight has been magically restored, holds up a pocket mirror and, looking at her reflection, catches sight of that of King Arthur, who stands behind her to left in armour, sweeping a bow.
The scene is inspired by Act 3, Scene 2 of John Dryden’s opera ‘King Arthur’ or ‘The British Worthy’, with music by Henry Purcell, first performed in London in 1691. It enjoyed a revival in the late 18th century when it was performed in London at the Theatre Royal, Drury Lane. It was likely this revival by David Garrick (1717-1779) that inspired Charles Ansell to make his painting of the subject.
Tomkins’ original engraving shows Arthur and Emmeline in a naturalistic wooded glade with another female figure present to the right of Emmeline. In the painting of the enamel of the present watch, the artist has adapted the scene by omitting the third figure, he has also provided a more classical setting with the inclusion of a stone pillar and balustrade. The wooded landscape has been reduced and ingeniously uses the translucent green guilloché background to suggest the feeling of the deeply wooded setting.
William Ilbery or Ilbury (c1760-1851)
was a celebrated watchmaker from London, renowned for his exceptional timepieces made for the Chinese market. In 1836 Ilbery settled in Fleurier, left for Macao in 1839 and then to Canton. There he was known to have become friendly with Bovet and they met regularly, even though they were rivals not only in business but also in their private lives. Both were courting Anna Vaucher, daughter of Charles-Henry Vaucher of Fleurier, one of Bovet's competitors in Canton. Ilbery was in fact engaged to Anna Vaucher and even though he was constantly on travels Anna remained faithful to him and resisted the proposals of Bovet who hoped one day to win her over. Sadly, no marriage ever took place since Anna became ill and died in 1845.
Ilbery's early watches were very much in the English style, fitted with full plate movements and duplex escapements. His later movements showed the influence of the free-standing barrels of the Lepine calibre as used in Jaquet Droz's Swiss production signed in London and that of William Anthony, who worked in London. William Ilbery is known as the ‘father’ of the Chinese watch. The cases Ilbery used for his timepieces were always of highest quality, lavishly decorated by the best Genevan enamellists of the time, notably Jean-Louis Richter and Jean-François-Victor Dupont.
Jean-Louis Richter (1766-1841)
Born in Geneva in 1766, he learned his art from Etienne and Philippe-Samuel-Théodore Roux. He is perhaps the most well-known and regarded of the early 19th century enamel painters who specialised in working on watches and gold boxes. He is most renowned for his lakeside and alpine landscapes and is credited with developing the technique of using a translucent background over engine-turning to create impressions of day or night.