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An extremely fine, unique, and previously unknown platinum automatic

• cal. R27 PS QR automatic lever movement stamped with the seal of Geneva, highly engraved and decorated with modified lotus bud motif and floral scrolls, 41 jewels, Gyromax balance, yellow gold decorated micro-rotor, minute repeating on two gongs • transparent dial, 4 subsidiary sapphire crystal display discs for day, month, leap years and small seconds with moon phases, retrograde hand with blue outer ring indicating the date, feuille hands set with translucent blue enamel  • platinum case, case band decorated with modified lotus bud motif, snap-on sapphire case back • case, dial and movement signed • with a platinum Patek Philippe buckle Accompanied by a white gold and emerald pusher, the original wooden presentation box, outer cardboard box, leather portfolio with product literature and image with outer cardboard box, and an Extract from the Archives confirming date of sale on 24 November 2004.  This unique and mesmerizing wristwatch carries the previously unrecorded reference number 5103, unknown to the public prior to this offering. Manufactured in 2004, it almost certainly served as the prototype for the 5104 which carries the same series of mechanical complications, yet was not introduced until 2007. The 5103 displays the true artistry of Patek Philippe, combining two of the most ingenious horological complications, that of minute repetition and perpetual calendar. Almost all perpetual calendar watches hide the intricate, precision engineered parts vital for their function under the dial upon which its mechanism will register the correct date – regardless of days in the month or leap years. The application of a perpetual calendar display to a transparent dial presents a number of difficulties, not least the design of calibrations which are legible yet unobtrusive. The most natural solution is the incorporation of crystal discs, yet these in themselves present issues for the watchmaker since fitting metal pinions to moving crystal discs is far from standard procedure. Naturally, such complexities are perfectly dealt with by the watchmakers at Patek Philippe. In order to ensure the text for the months, days and leap year are as unobtrusive as possible, these calibrations are rendered in white; a crystal disc, upon which a black ‘flag’ is printed, rotates behind these calibrations highlighting the relevant day, month and leap year. The date is presented in a retrograde arc on a blue ring at the edge of the dial. The unique platinum case features a band that is decoratively engraved with a modified lotus bud motif. The design of the watch gives an obvious nod to the ‘Sky-Moon’ tourbillon both through the layout of the dial and styling of the case. It seems highly likely that this watch acted as a prototype for the later, yet similar, reference 5104. The 5104, a very rare watch in itself, also featured perpetual calendar, transparent dial and minute repetition, however, it differed from the present unique Ref. 5103 in a number of ways. Most notably the case of the present wristwatch is entirely platinum, whereas the 5104 features pierced pink gold detailing to the case sides and lugs. The 5103’s lugs are flared in a similar style to that of the Sky-Moon and Celestial, rather than straight as in the case of the 5104. The back-plate of the 5103’s movement and rotor are highly decoratively engraved with a unique pattern, whereas the 5104 is decorated with Geneva stripes. A summary of the 5103’s unique characteristics as compared with the 5104 are detailed below: • Flared lugs • Full platinum case • Uniquely engraved band to the case • Unique and highly decoratively engraved movement back-plate and rotor • The hands with fully open centers, each inset with translucent blue enamel This horological masterpiece offers an extremely rare opportunity to own a unique, prototype Patek Philippe wristwatch with two of the most coveted complications, set within an extraordinary case with transparent dial.

  • USAUSA
  • 2014-06-10
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An exceptional and rare three compartment gold and enamel musical

• the case of rectangular form, the central lid with a finely painted polychrome enamel classical scene depicting a music lesson inhabited by young girl holding a music book and two children, one playing a flute, within a classical setting, painted in the manner of Lissignol en plein with rich hues of red, yellow and burgundy • the scene framed by gold egg and dart motif and further embellished with opaque black stringing, the side panels applied with gold classical figures • the right playing a harp and the left carrying a water vessel both against an opaque powder blue enamel ground, the right lid opening to reveal an automaton scene applied with vari-color gold figures representing a seated lady playing the harp using both hands and a gentleman tapping his foot in beat to the music and moving his forearm back and forth holding a monocle in his hand, the figures beneath a caged bird who at the end of the song flies from its cage, with a dog standing in wait below, the scene applied against a finely painted polychrome enamelled  interior scene • the opposite compartment with small  white enamel dial at 6 o'clock with arabic chapters, moon-style hands, beneath a circular open work grill which reveals the balance fitted with regulation arc • all against an engine-turned blue enamel ground embellished with gold wreaths and foliate swags partly decorated with white enamel, the side panels and bottom decorated with translucent blue enamel against a wavy engine-turned ground, the back and front corners further engraved with gold baskets heightened by opaque white enamel • rectangular movement with cylinder escapement, pinned disc mechanism driving both the music and the automata • movement plates for both the watch and automata scratch signed Piguet et Capt a Genève, one with no. 89  and the other no. 91, the box stamped GG(B) partly indistinct below a crown for Guidon, Gide et Blondet Fils, accompanied by the Asprey Exhibition Catalogue This magnificent three compartment box was exhibited at Asprey's New York, in the 1980's.  The Exhibition titled ‘Magic, Music and Motion, an Exhibition of rare 18th and 19th Century Watches, Boxes and Automata from the Asprey Private Collection’, was exhibited at Asprey’s New York Fifth Avenue premises. Piguet & Capt’s automaton in the present lot comprises a rare variation of the music lesson, where the young woman strums the harp with both hands rather than the more typically found one hand, the gentleman leaning on her chair, may be her teacher or perhaps her suitor.  The gentleman figure is particularly rare given the fact that he moves his hand to the beat of the music whilst holding a monocle. Most endearing and quite uncommon in these miniature mechanical tableaus is the bird cage above, with a bird that springs out of the cage at the end of the tune. The combination of music, automata, and time piece places this in the rarest class of boxes made in Geneva during the start of the 19th Century. Isaac Daniel Piguet (1775 – 1841) and Henri Capt (1773 – 1837?) were partners from 1802 to 1811 in the firm bearing their name, Piguet & Capt.  The duo are considered amongst the most important makers of small automata at the end of the 18th and beginning of the 19th centuries. Examples of their craftsmanship are exhibited in the world's foremost collections such as the Patek Philippe Museum, Geneva. The snuff box is stamped by the firm of Guidon, Gide et Blondet who were active in Geneva between 1801 and 1804. The formal closure of the Geneva firm of Guidon, Rémond, Gide & Co. on 1 January 1801 was followed by a division of the partners who, on the same day, opened on the one hand, Rémond, Lamy & Co. and on the other, Guidon Gide & Blondet. The marks of all three firms are to be found on the best Geneva gold and enamel snuff boxes of the period, such as a snuff box depicting Carlos IV of Spain and his consort Maria Luisa of Parma being welcomed to Barcelona on 1 September 1802 (sold 3 July 2012 at Sotheby’s). It was rare to record such a precise event on a Geneva box which also meant that it gave independent confirmation of the date of the mark. The enamel is possibly by Jean-Abraham Lissignol (1749-1819), known as Pére Lissignol to distinguish him from his son Abraham who was also an enameller in Geneva; Pére Lissignol was trained by Jean-Marc Roux. As well as painting plaques for snuff boxes, he also supplied workshops with portrait miniatures for watch cases and boxes. He appears to have specialised in allegorical subjects particularly those including plump cherubs. A box in the Patek Philippe Museum shows such a scene identified as the allegory of The Arts and Nature. In 1806, Père Lissignol wrote eloquently to the Paris authorities (Geneva then being occupied by France) suggesting that the Imperial Court should buy enameled trinkets to encourage the failing trade in Geneva, just as they had bought Lyons silk to help that market recover (Geneva Archives). For two other known three compartment boxes with similar automata see: Chapuis, A., Gelis, E., Le Monde des Automates, Tome II, p. 47, fig. 316, signed Isaac Del Piguet, a Genève, now in the David Salomons Collection of Watches and Clocks L.A. Mayer Museum  for Islamic Art in Jerusalem, and also illustrated in the catalogue of the collection Daniel, G., Markarian, O., The Art of Time, p. 116, 2009, pp. 116 -117; Antiquorum,  The Sandberg Watch Collection  March 31-April 1, 2001, Geneva, lot 127; The Sandoz Collection. For another automata box with a similar enamel subject, see Antiquorum, October 2005, Hong Kong, Lot 121. For a discussion of Swiss gold boxes, Enamels of the World 1700-2000, The Khalili Collections, Chapter 9, pp. 293-317, by Julia Clarke.

  • CHESchweiz
  • 2014-05-14
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Untitled

Cy Twombly pencil, coloured pencil and ballpoint pen on paper Executed in 1964. Delivering the impressive impact of Cy Twombly’s unique pictorial language, Untitled is a vivid example of the ‘whorl’ works that the artist created in 1964. A flurry of scribbles, scratches and loops coalesce into an abstract composition that is simultaneously delicate and dynamic – punctuated by subtle bursts of red and blue colour, and anchored by four dominant monument-like rectangular structures. Created during a spurt of creativity between July and August 1964, Untitled belongs to a suite of nineteen drawings called Notes from a Tower that Twombly embarked on at Castel Gardena, a Renaissance castle in the Italian Alps that he regularly visited in summer. Charged with frenetic energy, other examples from this series reside in prominent collections, such as that of Jasper Johns, the Albright-Knox Art Gallery, Buffalo, the Whitney Museum of American Art and the Morgan Library & Museum, New York, the latter previously belonging to fellow artist Roy Lichtenstein. Executed at a pivotal point in the artist’s career, Untitled suspends the viewer in a moment of spirited sublimity.Created seven years after the artist’s career-defining move to Rome in 1957, Untitled epitomizes the revolutionary visual idiom that Twombly developed in response to the mythical past of his surroundings and his immediate experiences in Italy. Speaking in 1957, ‘Each line is now the actual experience with its own innate history. It does not illustrate — it is the sensation of its own realisation’ (Cy Twombly, quoted in ‘Signs’, L’Esperienza moderna, no. 2, August/September 1957, pp. 32–33). While his American counterparts were finding inspiration in Pop culture or Minimalism, Twombly, ever the contrarian, was embarking upon a series of groundbreaking works inspired by the epic and dramatic panoramas and classical landscapes of the High Renaissance and Baroque.Untitled is emblematic of the seminal body of work that Twombly created in the 1960s, widely considered as a critical and extremely fertile period in his long and illustrious career. As Simon Schama has observed, ‘Twombly’s creative energy erupts, turning out an extended series of untitled compositions in which pictograms and ideograms…swim and seethe in a broth of jittery action’ (Simon Schama, Cy Twombly Fifty Years of Works on Paper, exh. cat., State Hermitage Museum, St. Petersburg, 2003, p. 14). While Twombly’s 1961-1963 series of works frequently referenced specific Classical tales as a point of departure, the present work demonstrates how, starting in 1964, Twombly’s work is characterised by that which Roland Barthes termed a '“Mediterranean effect”: a topology of references constituting, ‘an enormous complex of memories and sensations…a historical, mythological, poetic culture, this whole life of forms, colors and light which occurs at the frontier of the terrestrial landscape and the plains of the sea’ (Roland Barthes, quoted in ‘The Wisdom of Art’ , in Nicola Del Roscio, ed., Writings on Cy Twombly, Munich, 2002, p. 19). The drawings Twombly created in the summer of 1964 at the Castel Gardena represent a crucial stage in the formal evolution of Twombly’s oeuvre in that period. Twombly began work on this series shortly after completing the triptych Ilium (One Morning Ten Years Later), 1964, in Rome; Part I of this work resides in The Broad Museum, Los Angeles. While drawing upon the events leading up to the Trojan War, as detailed in Homer’s epic The Iliad, Twombly creates an ambivalent scene, evocative of a frenzied battle, but also a ‘deliberately eroticized apotheosis of life and death’ (Heiner Bastian, ed., Cy Twombly Catalogue Raisonné of the Paintings, Volume II, 1961-1965, Munich, 1993, p. 30). Through his experimentations in his Notes from a Tower series, Twombly further developed these iconographic themes, in anticipation of his solo exhibition, The Artist in the Northern Climate, at the Galerie Friedrich + Dahlen, Munich, in the autumn of 1964 where he exhibited a selection of the Castel Gardena drawings alongside ten paintings created for the exhibition. While resuming the visual dialogue with the Notes from a Tower works, these paintings introduced an unprecedented level of formal reduction that was characterised by an emphasis on the dominant rectangular structures. Situated at this critical juncture, Untitled articulates an important evolution in Twombly’s practice, which culminated in the artist’s celebrated mid–1960s monochromatic, grey paintings.

  • GBRStorbritannien
  • 2018-03-08
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Morphologie Psychologique de L'attente

Oil on canvas Signed lower left Periods of great anxiety and tension have often been marked by the emergence of visionary painters . . . It is in this context that the Surrealist and allied painters of the last thirty years have sought to discover a new picture of ourselves and of our universe which might help to resolve the contemporary conflict of values. The unique vision of Matta is the most recent and, in its cosmic focus, the most far reaching that this manner of paintings has proposed. 1                                                                           William Rubin  Roberto Matta came to Europe in 1935, where he began work in the studio of modernist architect Le Corbusier. In Paris, he met young British painter Gordon Onslow-Ford who encouraged him to draw and paint. Introduced to Andre Breton by Dalí in 1937, the young Chilean joined the Surrealist group. Surrealism was dedicated to making a liaison between the waking state and the world of dreams. In 1938 Matta called this world Psychological Morphology or Inscape. The term Psychological Morphology describes an adventure into an alternative reality with its own space-time. As did Tanguy, Ernst and Miro, Matta experimented with, and ultimately developed, his own form of automatism, the automatic drawing or painting achieved by the unconscious movement of the artist’s hand, pencil, or brush working faster than the mind can think. Matta’s earliest paintings date from 1938, when, as Gordon Onslow-Ford reminisced, "he squeezed little dollops of yellow, red, green and blue along the edge of a palette knife--then, without hesitation, he made a rapid gesture on a white canvas and, as he did not wish to clean the brushes, he worked the paint with his fingers, one finger for yellow, one for red, etc." When Matta moved to New York, this gestural and "automatic" mode of painting became a cornerstone for many artists in the School of New York, such as Robert Motherwell, William Baziotes and Jackson Pollock. 1. Museum of Modern Art Bullletin, New York, Vol. 25, 1957

  • USAUSA
  • 2003-11-20
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Swiss. An Extremely Rare, Important and Fine Gold, Enamel and Pearl-Set Flintlock Pistol-Form Perfume Sprinkler With Concealed Watch, Made for the Chi

SWISS. AN EXTREMELY RARE, IMPORTANT AND FINE GOLD, ENAMEL AND PEARL-SET FLINTLOCK PISTOL-FORM PERFUME SPRINKLER WITH CONCEALED WATCH, MADE FOR THE CHINESE MARKET UNSIGNED, CIRCA 1805 Gilt brass verge movement, chain fusée, pierced and chased cock, polished steel endstone, white enamel dial, Breguet numerals, gold hands, concealed within the end of the grip under a circular cover with applied chased and engraved gold head of Medusa within a ring of split pearls, opened by pressing secret button in the band, the movement concealed under a similar cover with engraved gold head of Sartyr on the other side, the grip with translucent red enamel over arc and shell-shaped engine-turned decoration, the edges set with split pearls, a small gold loop for chain under the timepiece, pierced and tooled flint strike with square agate hammer and lion's head mask on top, the lower barrel sides with plaques depicting a galloping horse on one side and a two sheep curled up together on the other with black enamel and split pearl surround, above tooled straight trigger, the octagonal barrel in deep blue enamel with gold paillons and pearl-set tip, the perfume spread through the pistils of the gold tulip with painted polychrome enamel petals, released by the percussion of the hammer when the trigger is depressed, with gold slide underneath to retreat into the barrel, unsigned 108 mm. overall length

  • HKGHongkong (S.A.R. Kina)
  • 2014-05-28
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A super impressive, rare and important platinum and diamond-set automatic

• cal. R27 Q automatic nickel lever movement stamped with the PP seal, Gyromax balance, 39 jewels, two polished hammers on two extra-long "Cathedral" gongs, 22k gold mini-rotor • black lacquered dial, baguette diamond-set indexes, 3 subsidiary dials indicating day with 24-hour indication, month with leap-year indication and date with aperture for moon-phases, outer minute track • platinum case, baguette diamond-set bezel and lugs, minute repeating mechanism operated by a slide in the band, snap-on sapphire crystal display back • case, dial and movement signed • with a platinum and diamond-set Patek Philippe folding buckle With a Patek Philippe special folder containing Certificate of Origin, image, instruction manual and specification of the movement.  Further with an interchangeable platinum case back and presentation box.   The total diamond weight is approximately 5.28 carats.  Launched by Patek Philippe in 2011, the reference 5073 is based on the highly popular Ref. 5074 with the bezel and shoulders set with 103 baguette diamonds (total 4.33 carats), including a matching diamond set folding buckle featuring a further 42 baguette diamonds. Available only in a platinum case with black baguette diamond-set dial, such is the time and resources required in creating the minute-repeating movement with cathedral gongs, combined with diamond set case, very few examples are understood to have been crafted and this is the first to be offered publicly. As a testament to their ability to manufacturer the finest minute-repeating wristwatches today, Patek Philippe has managed to create a remarkably clear and audible sound for the minute repeater in the 5073; often platinum cased repeaters lack the clarity of their gold counterparts due to the density of the metal. In addition setting the case with diamonds changes the tonality of the repeater, perhaps for this reason the 5073 was the first advertised Patek Philippe minute repeater to feature a diamond-set case and today remains the most highly jeweled minute-repeater available from the company.This time-consuming difficulty in creating a platinum and diamond set case that passes the strict requirements of Patek Philippe minute repeaters perhaps explains why production for the 5073 has remained so limited. Arguably the most visually striking of all diamond-set complications from Patek Philippe, the 5073P is a rare achievement of when the two artisan skills of haute-horlogerie and haute jewellery can be used together in perfect balance. Images and promotional material, although visually impressive, do nothing to capture the striking elegance of the model and viewing in person. This is the second time a Patek Philippe Ref. 5073 has been offered at auction since its production in 2011.

  • HKGHongkong (S.A.R. Kina)
  • 2014-10-08
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Breguet. An Exceptional, Unique and Historically Important Silver 8-Day Hump-Back Montre De Carrosse With Half-Quarter Repeating, Alarm, Quadruple Dig

BREGUET. AN EXCEPTIONAL, UNIQUE AND HISTORICALLY IMPORTANT SILVER 8-DAY HUMP-BACK MONTRE DE CARROSSE WITH HALF-QUARTER REPEATING, ALARM, QUADRUPLE DIGITAL CALENDAR, AGE AND PHASES OF THE MOON, TRAVELLING CASE AND ORIGINAL KEY, MADE FOR THE QUEEN OF NAPLES SIGNED BREGUET, NO. 2655, MADE FOR THE QUEEN OF NAPLES AND SOLD TO HER IN 1812 The 4-pillar circular gilt brass movement with off-set winding to the going barrel and with ratchet set-up and bridged open spring barrels for the repeating and alarm mounted on the back plate, the plate also cut to reveal a transitional form of Breguet's straight-line lever escapement, plain three-arm balance with parachute suspension and regulator to the blued steel spiral balance spring with terminal curve, the repeating and alarm sounded by three hammers on three rounded rectangular-sectioned steel gongs, Breguet's "rouleaux de quantième" calendar work driven from the motion work and mounted below on the dial plate, the silver dial with roman numerals and dot minute markers, blued steel Breguet moon hands, engine turned centre with subsidiary dials for alarm setting, and an aperture for phases and age of the moon, signed Breguet et Fils on an applied gold oval cartouche, set within a finely engine turned gilt dial mask with off-set winding hole and four apertures indicating day, date, month and year, numbered below on an applied gold cartouche No. 2655, the arched case with 7-knuckle hinged doors, the front bevel glazed, the back Paris hallmarked for medium sized, first standard silver, and stamped with the case makers initials PBT for Pierre-Benjamin Tavernier 1809-1819, quadruple stranded silver linked carrying chains with a further double stranded chain on a slider for the silver double-ended Breguet ratchet key, the pull wound alarm chain and alarm hand setting to the right side, and a sliding shutter to the left side for time hand setting, with pull repeat chain underneath, the whole raised on four sconce feet, with contemporary silk lined brown leather covered travelling case; case stamped PBT for Pierre-Benjamin Tavernier, dial signed Breguet et Fils and numbered 2655 15.8 cm. high, 13 cm. wide and 4.8 cm. deep

  • CHESchweiz
  • 2009-05-11
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MAGNIFICENT ENAMELED WATCH WITH THREE HAMMER & THREE GONG MINUTE REPEATING - VENUS & CUPID – AN ALLEGORY OF LOVE Swiss, the movement attributed to Dec

MAGNIFICENT ENAMELED WATCH WITH THREE HAMMER & THREE GONG MINUTE REPEATING - VENUS & CUPID – AN ALLEGORY OF LOVE Swiss, the movement attributed to Decombaz, No. 99018, the case by Frères Oltramare, No. 5476, the enamel in the manner of Isaac Adam. Made for the Chinese market, circa 1820. Magnificent and exceptionally fine, large, gold, enamel, painted on enamel and pearl-set pocket watch with three-hammer minute repeating on three gongs. C. Two-body, “bassine”, the bezel and matching back border overlaid with azure champlevé enamel, oval panels with chased gold and seed pearl-set fl ower heads with a black enamel ground and pearl border, alternating with chased gold and pearl-set fl owers with red champlevé enamel detail, entirely pearl-set pendant, the bow decorated with azure and black champlevé enamel stripes and further set with graduated pearls, hinged and sprung back cover with a very fi nely painted on enamel scene of Venus and Cupid on a daybed, Venus with her attributes of a fl aming torch and a pair of doves, winged cupid looking tenderly at his mother, arabesque pearl border and azure enamel border. Hinged and sprung gold cuvette decorated with black champlevé enamel scrolling foliage within an azure border, apertures for winding and hand-setting. D. White enamel with Arabic numerals, outer minute track, secured by a blued steel screw. Blued steel lozenge hands. M. Blued and polished steel with matte gilt plate, standing barrel, jeweled cylinder escapement, three-arm gilt balance, fl at balance spring, index regulator, polishedsteel repeating work on the back plate, repeating with three hammers on three square-section polished-steel gongs activated by depressing the pendant. Case punched with the mark of Freres Oltramare and numbered 5476, cuvette numbered 76, movement punch numbered 99018 and 76. Diam. 65 mm

  • CHESchweiz
  • 2012-03-11
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An extraordinary, previously unknown and likely unique titanium wristwatch

• cal. 177 manual winding nickel lever movement, stamped with the seal of Geneva, 18 jewels, mono-metallic Gyromax balance • silvered dial, applied titanium Breguet numerals and hands • brushed titanium Officer-style case, down-turned screw-set lugs, solid screw down case back set with a 9.44 ct., D color, flawless square emerald-cut, diamond through which the movement is visible • case, dial, and movement signed • with a titanium Patek Philippe buckle The 9.44 carat diamond accompanied by GIA Report No. 5161081481 stating the diamond to be D color, Internally Flawless. Together with a letter from the GIA stating the diamond to be Type IIA.  Additionally with a leather portfolio with schematic drawring and original Certificate of Origin with outer cardboard box, Patek Philippe original delivery coffin box and an Extract from the Archives confirming date of sale on 24 November 2004 and one diamond weighing 9.44 cts.   The case back of this rare and almost certainly unique wristwatch, features an extraordinarily impressive 9.44ct, internally flawless, type IIa, D color diamond. Type IIa diamonds are exceedingly rare, comprising less than 2% of all diamonds, and are distinguished by extreme chemical purity. The diamond provides a mesmerizing view of the watch’s movement and contrasts spectacularly with the grey of the titanium case. Inspired by the classic “Officer’s” style watches of the early 20th century, this wristwatch has an understated yet classic elegance - the case front, with its matching grey silvered dial, masks the massive flawless diamond set to the center of the case back. The accompanying technical drawing demonstrates the exceptional complexity and intricacy of the diamond setting, yet it also reveals the practical application of details such as seals, to ensure that the watch can be used with regularity. This wristwatch is the only "time only" Patek Philippe wristwatch known to have been made in titanium. The movement calibre (cal.8’’’ 177 02) was the thinnest movement available in Patek’s production at the time of this watch’s manufacture and allowed for the incorporation of additional case back setting rings for the diamond, whilst ensuring that the watch remained slim and unobtrusive. Such attention to detailing is also apparent in the traditionally styled numerals and hands which are all formed in titanium and thereby add yet another level of complexity, since the manufacture of dial detailing in this metal is far from standard production. An exceptional wristwatch, the “Flawless Officer” perfectly demonstrates Patek Philippe’s ability to combine the technical with the aesthetic. The juxtaposition of utility and luxury, presented so neatly in this example, is a testament to taste, discretion and imagination. Only a creative mind with great aesthetic sense, along with the technical masters at Patek Philippe, could so ingeniously marry such contradictions so perfectly. For this wristwatch has not merely been designed to display its extraordinary diamond, but to serve as a practical and beautiful wristwatch to be worn and enjoyed.

  • USAUSA
  • 2014-06-10
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A remarkably well-preserved stainless steel chronograph wristwatch...

Rolex Case, dial, movement and bracelet signed, underside of the lug stamped with retailer number 142625 This “Paul Newman” Daytona not only displays the correct attributes of a Mk 1 Panda’ dial, it was also retailed at Joyeria Ricciardi, the famed boutique in Buenos Aires, Argentina. One of the earliest reference 6263s ever produced, this watch is fitted with a Mk 1 dial, which is absolutely correct for the 2.085 million serial number. The small “R” in Rolex, along with non-serifed “Oyster Cosmograph” text distinguishes first series dials.The case is fitted with correct first generation ‘millerighe’ pushers, a Mk 1 bezel and 5-point Rolex crown, which displays the coronet only. The inside case back is stamped 6239, as the earliest examples of reference 6263 were fitted with the leftover case backs from earlier models.One of the most important features of any “Paul Newman” watch is the dial condition, and this one is as good as it gets. Having aged to a beautiful ivory tone, the dial is free of blemishes or tarnishing. The counters are sunken in, and the ivory ‘deco-style’ graphics are clear and defined. The luminous dots are round, intact and have aged with warm patina, matching the hands.The underside of the lug displays the retailer’s stock number 142625, giving the watch its own personal identity. Like other distinguished jewelers, Joyeria Ricciardi personalized its watches. While they did not emblazon their name on the dial, they did stamp their own retailer numbers on the watches. As a nice touch, the presentation box bears the logo of Joyeria Ricciardi.

  • CHESchweiz
  • 2018-05-12
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A CONSULAT LARGE ORMOLU QUARTER-STRIKING AND AUTOMATON PEDESTAL CLOCK WITH ANNUAL CALENDAR AND EQUATION OF TIME, ON AN ORMOLU AND PORCELAIN-MOUNTED MA

A CONSULAT LARGE ORMOLU QUARTER-STRIKING AND AUTOMATON PEDESTAL CLOCK WITH ANNUAL CALENDAR AND EQUATION OF TIME, ON AN ORMOLU AND PORCELAIN-MOUNTED MAHOGANY PEDESTAL INCORPORATING AN ORGAN THE CLOCK DIAL SIGNED BY J.A. CAVE, CIRCA 1800, THE PEDESTAL ATTRIBUTED TO JACOB FRERES CASE: of massive proportions, surmounted by a group after the Antique representing the River Nile with amorini and crocodiles, with reeded columns to front, rear and angles, the cornice with dolphin, mask and Nereid mounts, the front with classical figures within niches, the side panels with mounts formed of winged horses, trumpet-blowing amorini and swans, the front and sides of the plinth with classical relief mounts, door to rear, the front modeled with a fountain, with automaton glass simulating water issuing from a mask, the case resting on the backs of six turtles with automaton heads PEDESTAL: on an ormolu-mounted mahogany pedestal with inset mottled granito violetto top above a frieze with Apollo in his chariot, the front centered by an oval enameled plaque of Napoleon as Consul, the canted angles with Egyptian female caryatid uprights, the sides with classical lyre lozenge medallions backed with cobalt blue enameled panels on a further stepped plinth base with flattened bun feet, this lower plinth probably of a slightly later date DIAL: within ormolu bezel, white enamel with gilt-heightening and jeweled decoration in the manner of Coteau, outer band with individual cartouches painted with representations of the zodiac, further annual calendar ring, signed Inv.t fec.t J. A. Cave, with pieced ormolu hour and minute hands and blued steel solar equation hand applied with a sunburst, blued steel date pointer MOVEMENTS: concealed winding holes behind the front mounts for the clock (indirect wind) and automaton movements, the former with rectangular plates joined by five back-pinned pillars, twin barrels with Graham-type dead beat escapement, the high quality gridiron pendulum with knife-edge suspension and suspended from a cradle to the rear, fine calibration to crutch piece, with remontoire to back plate, quarter-striking on three nested bells with a single moving hammer; the automaton movement positioned to the side and with independent barrel, tripped from the clock movement and with gearing to the automaton water and to the turtles, causing their heads to move in and out, with manual automaton stop/start levers to the side, the back plate with restoration inscription Réparee entierement par E Frennaulet Paris 1893 rue des. terminer par Balthazar fils Mechanitien; the movement with late 19th Century restorations ORGAN: the plinth housing an organ with 17¼ in. long wooden barrel and twenty-three pipes (one lacking), powered by twin chain fusees; lacking connection to clock 80 in. (203 cm.) high, 32 in. (81.25 cm.) wide, 22½ in. (57 cm.) deep, overall (2)

  • USAUSA
  • 2010-10-21
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PATEK PHILIPPE REF. 5016 PLATINUM UNIQUE BLACK & RED DIAL Patek Philippe, Genève, No. 1905048, case No. 4090341, Ref. 5016P. Made in 1999, sold Januar

PATEK PHILIPPE REF. 5016 PLATINUM UNIQUE BLACK & RED DIAL Patek Philippe, Genève, No. 1905048, case No. 4090341, Ref. 5016P. Made in 1999, sold January 31st, 2001. Extremely fine, unique and important, astronomic, minute-repeating, platinum wristwatch with one-minute tourbillon regulator, retrograde perpetual calendar, moon phases, and a platinum Patek Philippe buckle. Accompanied by the Extract of the Archives, Patek Philippe winding box, setting pin, and a leather folder with booklets. C. Three-body, solid, polished, fl uted lugs, transparent case back, sapphire crystals. D. Black with applied white gold Breguet numerals, outer red minute track, subsidiary seconds dial, concentric retrograde red date graduation, apertures for the days of the week, the months, the leap year and the moon phases. White gold Breguet hands. M. Cal. RTO 27 PS-QR, stamped with the Seal of Geneva quality mark, rhodium-plated, fausses cotes decoration, 28 jewels, lateral lever escapement with one-minute tourbillon regulator with polished steel cage and 3 equidistant arms, Gyromax balance adjusted to heat, cold, isochronism and 5 positions, self-compensating free-sprung Breguet balance spring, repeating on gongs by activating a platinum slide on the band. Dial, case and movement signed. Diam. 37 mm. Thickness 15 mm.

  • CHESchweiz
  • 2012-12-13
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AN IMPORTANT AND MASSIVE Platinum TONNEAU AUTOMATIC MINUTE REPEATING

Cal.R27 PSQR damascened nickel lever movement stamped with the Geneva seal, 41 jewels, free-sprung Gyromax balance, adjusted to heat, cold, isochronism and 5 positions, 22k gold mini rotor • silvered matte dial, applied gold Breguet numerals and hands, apertures for leap year indicator, day, month, moon-phases and constant seconds at 6, retrograde date indicator • platinum tonneau-form case, stepped bezel, down-turned lugs, repeating slide in the band • case, dial and movement signed • with a platinum Patek Philippe buckle Accompanied by a Certificate of Origin and an Extract from the Archives confirming production in 1994 and sale on July 26th, the same year. Also with Patek Philippe booklets within a maroon leather folder, setting pin, leather presentation box and outer card box. Patek Philippe produced a small number of minute repeating wristwatches during the early part of the 20th century and discontinued production in the late 1950s. To celebrate the 150th Anniversary of Patek Philippe in 1989, a minute repeating wristwatch was once again introduced but for the first time with an automatic calibre. Patek Philippe later introduced the ref.5013 wristwatch which combined the extra complications of the perpetual calendar, moon phases and retrograde calendar making it one of their most complicated models. The ref.5013's case is highly reminiscent of one of Patek Philippe's most important vintage repeating wristwatches, no.198.212. That watch, also made in a platinum tortue case, was made for Henry Graves Jr. and is illustrated in Huber, M., & Banbery, A., Patek Philippe Wristwatches, Second Edition, p.315, pl.470a-d, it is also exhibited in the Patek Philippe Museum.

  • CHESchweiz
  • 2007-11-13
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An extremely rare yellow gold world time wristwatch with enamel dial

• cal. 12-120 nickel lever movement, 18 jewels, bi-metallic balance • two-part dial, the central raised portion with polychrome cloisonné enamel depicting map of Eurasia, applied gold Roman numerals and baton indexes, gold lys hands, recessed rotating intermediate portion indicating 24 hours with two-tone diurnal and nocturnal indication • 18k yellow gold case, Louis Cottier-designed Heures Universelles rotating bezel indicating 24 time zones and 40 world cities, teardrop lugs, snap on solid case back • case, dial and movement signed  Accompanied by an Extract from the Archives confirming date of sale on May 24, 1954.The present lot marks an momentous occasion in the vintage wristwatch collecting world. Appearing on the market for the first time from an important private collection, this is the first time in over 15 years that a Ref. 1415 featuring a map of Eurasia has been offered at auction, and the first time in over 20 years that an unknown example has appeared. In a market where 'unknowns' are increasingly uncommon to encounter, Sotheby's is honored to present such a historic and rare example, and furthermore one whose technical and aesthetic merits surpass every example in its category. The storied tale of the Heures Universelles legend here reaches its summit: its future owner will know the connoisseur's joy of its rarity and complexity, and the simple pleasure of gazing into the tonal azures of the dial's enamel seas. Indeed, of the eight Ref. 1415 HU DE (heures universelles, décor émail) wristwatches to have come to the market, only two, inclusive of the present example, have featured the extremely rare Eurasia map, whereas the other six featured the more common world map. The other known example, movement number 964809, one digit off from the present example, was offered first at Antiquorum in 1994 and later recycled back into the market by Christie's in 2000. Ref. 1415 was first launched in 1939, and it was not until 1948 that the first enamel dials appeared for this model. It is estimated that the small number created were produced only for five years. According to our research, this feature was fitted to fewer than one-quarter of the examples created in total, with esteemed enamelers Nelly Richard or Marguerite Koch being commissioned for the work. The underside of the dial is clearly stamped on the contre-email with the movement number for this watch, 964808, a further mark of the precision of each part being matched together in the Patek Philippe atelier before its original sale. A period advertisement for the watch noted, "For men with international interests, it is indispensable." Indeed, the world time mechanism is one of the greatest successes of watchmaking, and Patek Philippe's contemporary offerings, such as Refs. 5110 and 5131, and are clearly inspired from these early models. The 'Heures Universelles' function of Ref. 1415 operates via the rotating bezel. When the bezel is rotated so that the home city is at the 12 o'clock position, and the watch is set to the local time zone, the 24-hour indication adjusts automatically so that one can see the current time in 41 world cities. Because the case, dial, and movement are all integral to the technical function of the watch, Louis Cottier, who was the creator of the World Time, supervised the production of each element. Louis Cottier (1894-1996) was born in Carouge and attended the Horological School of Geneva before going to work for his father and horological mentor Emmanuel Cottier (1858-1930). Like his father, Cottier was a very talented mechanical genius and went on to develop numerous patents that changed the face of watchmaking. Reacting to the realities of the Great Depression, Cottier saw a niche in high-end watchmaking and focused his talents on the development of complicated watches. Foremost among these discoveries was his development of the world time mechanism in the 1930s. This invention would inspire some of the most iconic Patek Philippe complications. It is interesting to note that the present example, like many of Cottier's inventions, lists London and Paris on the same time zone, Greenwich Mean Time. On June 15th, 1940, Paris converted to Central European time due to the war. For many years, it was thought that Paris would eventually revert back to GMT, and there are Patek Philippe 'Heures Universelles' watches and wristwatches from as late as the 1970s which still list Paris and London on the same time zone. For further examples of Ref. 1415 and other Louis Cottier Heures Universelles inventions, see Huber, A. & Banbery, M., Patek Philippe Wristwatches, pp. 243-245. See also Patek Philippe Museum, Vol. II, Geneva: 2014, p. 342-345.

  • GBRStorbritannien
  • 2016-06-08
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