INTRODUCTION

This article originally appeared in similar format on January 21, 2026 at www.collectability.com HERE.

The Patek ref. 2508 was produced from 1950 to around the mid-‘60’s. It was originally manufactured with a total production of over 1,000 examples in yellow and rose gold, with rose gold being more limited. Reportedly there are around 100 and 30 pieces now known back to market in yellow and rose gold respectively. The rarest material was steel and presently it’s believed there are fewer than 20 steel examples known in the market.

So, why does this reference really matter or even deserve to get much attention from the collector community? It’s not the iconic ref. 96 or even the first waterproof design for Patek (that honor belongs to the ref. 565). Nevertheless, the vintage Patek community has a deep respect for this time-only reference and its relative rarity for starters. It was also a large watch for the time, measuring 35mm, which gives it a timeless appeal and proportional fit on most wrists. We’ll discuss more of the reasons around what has driven reverence for the reference among the collector community in some later sections, as we break down the components. Notably, its sibling reference 2509 which has a very similar case design was also produced in limited quantities and will be a future subject of discussion.

THE DIAL

The ref. 2508 has commonly been categorized based on different dial features into two series. I propose an updated method of categorizing the dials known into types, as opposed to series, given that some of the dial designs weren’t sequential in production and using “type” as a method of classification removes the presumed time of market appearance during the production run. I’ll discuss a few reasons around why it matters in the Closing Thoughts section.

The dial types below can be categorized the same across the different metals. With that said, let’s look at some different features observed over the ref. 2508 production run.

Type 1 - There are two different configurations, 1A and 1B. Examples of each are shown below.

Type 1A - This is the quintessential appearance that most collectors visualize in their mind when the reference is discussed. It has a subtle two-tone appearance in most light conditions between the center and outer track. The signature and outer minute track are both engraved, enameled. The markers are geometric and alternate between faceted square and dagger markers at 12, 3, 6 and 9. There were three dial colors known of the 1A: silver (most common), pink and black (least common). Of the black dials, I’m aware of two in yellow gold and one in rose gold cases (one of each depicted later). The marker facets give the dial a touch of brilliance when light is reflected. The use of these marker type lends reference to the dial as one of the most aesthetically balanced watch dials known. The hands are gold dauphine with either a blued steel or gold center sweep seconds hand.

Interestingly, the minute track on both Type 1 examples shows some mis-aligned hash marks around the periphery. This mis-alignment of certain hash marks should be consistent in appearance on original dials (above image). The misalignment is from the cliche that was used to stamp the dials prior to having aqueous enamel paste applied and kiln fired to harden. The earlier image gives a good illustration of the two-tone gradient change of the dial just beyond the minute hash marks.

Type 1B - The differing feature of this type is the use of lapped hour markers around the dial. These are seen as either plain or luminous (with radium insets in the markers and gold dauphine hands). Both of these types of dials are known to overlap during the same time frame of production.

Type 2 - Two different configurations are known, a 2A and 2B. The features that make this dial type unique are changes from a silvered two-tone opaline finish to a full monotone matt silvered finish of the dial. In addition, the outer minute track is pearled instead of engraved, enameled.

Type 2A - Although less commonly known, some examples are noted with this appearance in the market overlapping the Type 1 dials. This type features geometric markers, similar to 1A, gold dauphine hands and either a blued steel or gold center sweep seconds hand. I’ve only seen this type in yellow and rose gold and around 1956.

Type 2B - The markers are lapped with gold dauphine or baton hands and either a blued or gold center sweep seconds hand. The later steel cased examples have a printed signature. A period image is depicted of this dial type on a gold model from 1959 in Huber & Banbery, Patek Philippe Geneve on pg. 249.

The backside of the dial is stamped 93 which is the code for Patek Philippe. The star symbol is for the Stern Freres dial manufacture. Next in line is a three-digit batch code number, with the last number referencing the dial color.

THE ADMIRED CASE

In addition to the dial design, another reason for collector fascination with the ref. 2508 lies in the Taubert-designed screw back case. The proportions of the case and its downturned lugs bear strong semblance to the iconic ref. 1463. The profiles shown below are views of a gold and steel case respectively for starters.

The case has an inner dust cap to provide protection from dust, magnetism and moisture.

The case is polished and satin brushed on the sides with a circular brush finish on the case back. Gold cases often have hallmarks under one lug and on the crown side case band or on the back of the case. French examples have a hallmark on the case back as noted in this rose example from 1961.

Interestingly, it appears there are two types of case designs seen during the production run on gold and steel examples. The differences are subtle, but noted nonetheless. On gold cases, most often seen are rounded bottoms with a more pronounced downward slope to the lug tip angle. The other type seen in the lower image has a flatter lug tip angle and flatter, longer lug tip platform. This is also noted on some ref. 1463 examples as well.

On steel cases we see subtle differences as well pointed out in the second comparative image. The lugs also appear slightly thicker than gold case examples and the lug tip base is approximately 1-2mm longer.

Another area to inspect for case condition is the step down from the bezel, outer case edge and notch by inner lug. It’s a good area to inspect because it would not have the wear from routine use compared to the case sides.

Some past auction reports refer to the two-part case as the first Patek waterproof design, however the ref. 565 introduced in 1938 holds that distinction. The taller center seconds movement gives the case a bit more height, when compared to the flatter ref. 2509 sibling.

The case back was circular brushed and depending on the amount of wear or metal, the brushing pattern may not be completely visible. The screw-back case should have sharp points on the notches.

The inner case-back features the usual makers marks with stampings for FB/Taubert and Patek Philippe. In addition you should see the required gold markings, reference and serial numbers. The gold cases have the additional stamped Key 11 for Taubert, whereas the steel examples do not. Earlier cases have a cross symbol under the FB Taubert stamp, while later cases had the word “VACUUM” stamped. Presumably the stamps signified confirmation of case integrity testing.

Two different crown types are seen on the ref. 2508, both made by Bonichi. The first type is the umbrella style with a dimple and ribbed circumference, similar to the type seen on the ref. 565. These crowns were used on the steel examples exclusively and the other type is a flatter style with a larger knurled circumference. Later crowns of the flatter style featured the Calatrava cross logo in relief, which started to appear around the mid- ‘50’s. Both types of crowns are seen on the gold cased examples.

THE BEAUTIFUL MOVEMENT

The 27 SC caliber was developed by Patek around 1949 and powers the ref. 2508. The 27 SC movement featuring a direct drive succeeded the 12-120 SCi caliber and solved the “shudder” of the minute hand seen on the previous Victorin-Piguet design. The early 27 SC movement used a weighted monometallic balance, which was later transitioned to the Gyromax balance. This movement features the usual beautifully finished plates with Geneva waves, lower plate perlage and polished anglage on the edges per Patek standards. Two Geneva seal stampings are seen on the movement and a circled, stamped “27 SC” to denote the caliber.

COLLECTING CONSIDERATIONS

For collectors, we’ve covered cues to observe in the sections above on the different components related to condition. Often these references are found with dials well maintained, given the case structure helped protect the dials and movements compared to a snap back design.

Most cases have had some past polish or re-brushing of the case sides, so look for examples that maintain proportional and thick symmetry with strong hallmarks on gold cases examples. Dials have often been either cleaned or touched up to some degree, but there are examples with untouched dials that are rare and prized. Look for consistent aging and patina as cues of aged lacquer on the dial. The engraved enamel dials should have a consistent appearance to the enamel signature and outer track without signs of weakening to the black color depth and shape for top examples. When spending this kind of money, it’s important to be disciplined. I like to evaluate the coherence of the dial, hands and case to determine if they all appear correct, honest and very strong. It’s also important to have perspective and sometimes perfection can be the enemy of great, and we need to remind ourselves “what is the likelihood of finding one better?”

Let’s take a look at some different and interesting types of examples seen in the market and from past auctions to share the diversity of collecting options. First up, we have two double-signed examples.

Retail prices in general have been escalating for vintage Patek in strong condition, depending on the overall condition, reference and metal - the prices can have very wide variation. At present, I would expect strong, top-grade examples in yellow gold to start around $40k and rose examples in similar condition with silver dials to start around $60k and go up. A pink-on-pink example should comfortably be $100k +, as should quality steel examples with engraved, enameled signatures. These are estimates only, as condition drives the upper range and there may be examples seen recently at auction or for sale that do not fit the top-grade criteria being offered or sold for less. I’m not aware of any recent auction or private sales of black dialed examples and would expect them to have very strong asking prices if offered in the market.

FOR THE LOVE OF BRACELETS

I’m a huge fan of period correct bracelets on many Patek references, including the ref. 2508. The top manufacturers of the era include; Gay Freres, Jean-Pierre Ecoffey and Ponti Gennari (at the very top). However, there are also other manufacturers and period unmarked bracelets that can be obtained for less money that still have very high quality. In my opinion, a bracelet on this reference takes the ref. 2508 up a level in sport elegance.

CLOSING THOUGHTS

As usual, condition should be a guiding principle when hunting for a ref. 2508 in any metal. One of the reasons I proposed an update to dial classification is to clearly delineate the different types seen. From my observations, the Type 1A two-tone dials with geometric markers and engraved outer tracks currently tend to command the highest values based on public and private sales information I’ve come across. The Type 2A with geometric markers and pearled minute track would be next, although these dials aren’t as commonly seen in the market and likely had the lowest production among gold cased examples. Next in line would be the Type 1B two-tone with plain lapped indices, followed by the radium examples (many of which have been re-lumed over time). On another related note, some collectors also favor the blued sweep seconds hand on examples where it’s an available option, for the pop of color it provides to the dial.

While the Type 2B late steel examples with printed signatures are the least known in market among steel cased examples, they often command lower prices compared to the engraved enamel signature dials seen on steel examples up until the early ‘60’s. This type was the final dial design before the end of production. However, any ref. 2508 example in top collector-grade condition is a relatively rare bird and great addition to a Patek collection.

We’ve attempted to complete a thorough overview accounting for the many variations of ref. 2508 examples known and tips for collecting. We’ll close out with a few wrist shot images of different types seen on period bracelets.

Please feel free to share comments.

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Acknowledgments

• Special thanks to the many contributions of images and details for article content from two very passionate ref. 2508 collector friends; Tony and Edo. I’m grateful for their encouragement to collaborate on this article and their active participation to pull complete content together for a comprehensive representation of the reference.

• Special thanks to collector friends Per, @perj123 for sharing relevant details and image use permission of his example as noted and @ok.wristwatch for additional detail discussion.

• Appreciation for image, picture use and editorial review from Tony Traina, www.unpolishedwatches.com,

• Thanks for image use as noted and credited to John Goldberger from his publication, Steel Patek, John Reardon and www.collectability.com, John Nagayama, www.onbehalf.jp, Ali Nael, www.2tonevintage.com, Eric Wind and Charlie Dunne of www.windvintage.com.

• Recognition to Phillips, Christie’s, Sotheby’s, Monaco Legend Group and Antiquorum auctions, for images used with credit.

Background

The vast majority of strap buckles made for Patek Philippe, at least for several decades, were crafted and supplied by A & E Wenger. These buckles feature Patek stampings and at times, “AW” on the inner portion (“AW” only for other brands). They have a curved fit to the wrist with either a flat, gently arced, or slightly peaked outer edge depending on the decade.

Beginning in the early ‘50’s, watches from Patek Philippe destined for the U.S. market were fitted with a newly designed buckle to allow for —among other reasons— easier customs clearance and identification of watches that were sold in the U.S. The new buckle was dubbed the “Henri Stern” (HS) buckle as a nod to the US distribution point, The Henri Stern Watch Agency. This buckle style with its angular borders and pointed apex tip remains the current tang buckle type with a few modifications since its introduction, including a larger size as contemporary straps are less tapered than vintage straps. It is the correct vintage buckle type for a U.S. market watch since its appearance in the ‘50’s, as opposed to the usually seen AW buckle style known in other markets. If you have an important vintage U.S. market Patek Philippe from this era, you want this buckle.

Vintage U.S. Market Examples and Features

Beyond its primary supplier, Wenger, Patek Philippe also outsourced buckle production to additional manufacturers. It’s known that a Brooklyn-based contract manufacturer in the ‘50’s for the U.S. market, for the then newly launched HS buckle, had at least one batch produced with a misspelling of the latter portion of the brand name as “Phillipe”. John Reardon of Collectability wrote a brief teaser on this very topic HERE.

Beyond the spelling cues, a trained eye will note a number of subtle detail differences between the two buckle types. I’ll share some pictures of the correctly spelled version and the error type that appeared in the US market as documented reference points. The correctly spelled buckle is shown in the first two images.

The following images show back and top side views of the “error” buckle.

Next up are side by side comparisons of both buckle types.

Shown below are different angled views of the “error” buckle type.

To conclude this section, several angled views are shown below of the correctly spelled buckle type.

A Few Words on Straps and Fit

Because the HS buckle was made for the U.S. market, the taper dimension on both strap pieces should be 1/2 inches, (12.7mm). Patek Philippe U.S. market straps of the era were manufactured with this taper in mind as illustrated. Because most straps are typically made in millimeter measurements, this is an important point for one to consider when ordering straps from other suppliers.

The vintage HS buckle shape requires a slight twist of the band while passing it through a usual 14mm tapered strap to minimize edge finish abrasion. While the usual 14mm strap taper will work with these buckles attached to pliable materials such as pigskin, it does require a bit more delicate handling when fastening the watch on your wrist.

The “error” buckle illustrated and a crocodile box-stitch strap were accompanied by a Patek Philippe retailer stamped envelope. A handwritten note is displayed describing the contents on the outer envelope of the California-based retailer of the era.

The images below show an original, unused Patek Philippe period strap fashioned with the correct 20/12.7 mm taper for U.S. market iconic offerings. This strap would be ideal for the complicated 1518, 1526, 2497, 2499 and 1579 references, in addition to the time-only reference 570.

If you are ordering custom straps, it’s best to order the taper in 20mm x 12.7mm for an optimal fit to the HS buckle. This size will achieve the correct fit as illustrated below on a period U.S. market Patek Philippe strap.

When comparing the design of the Wenger to the HS buckles, the Wenger design has the more generous 14mm width to accommodate typical strap measurements. While technically not correct for a U.S. market watch from the period, it does make for a practical and user-friendly option.

Closing Thoughts

From an original era, preservationist point of view, either of the HS buckles could be considered correct for vintage US market Patek Philippe watches from the 1950’s, as it’s unclear when the error batch was exhausted. Moving forward, I would expect to see only the correctly spelled HS buckle after that decade.

On vintage U.S.-market Patek examples from the 1950s, I find the tang of this particular “error” buckle to be more proportionally aligned with the recess compared to the correctly spelled buckle shown, although that may be a period quality control issue and not representative of all examples*. A small detail, but one that matters for optimal fit and to ensure the watch stays most securely fastened.

The birth of the Henri Stern buckle—and its initial misstep—is just one intriguing chapter in the history of Patek Philippe buckles. It underscores something larger: with Patek Philippe scholarship, even the smallest components carry a history worth studying.

*If you have a correctly spelled HS buckle with a different tang fit, please reach out.

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This article in similar form originally appeared on www.matthewbaininc.com in October, 2025.

Introduction

The Patek ref. 565 with its Taubert-designed screw-back case continues to capture serious vintage Patek collector attention. Made in steel, yellow and rose gold, it features a modernist design that has a timeless appeal and wears well on most wrists at 35mm in diameter. The steel examples in particular seem to be quite popular, despite the fact they had the highest production numbers, with rose being the rarest and yellow gold next rarest in numbers produced. The Patek ref. 565 was produced from 1938 - 1952, when it was succeeded by the ref. 2533 (also Taubert-designed case).

Some of these early steel examples are known with a four digit serial number stamped between the six o’clock lugs. I’ve heard conjecture that these serial stamps should be viewed with concern and a sign the case is a swapped Doxa case, as those cases also featured serial number stampings and had a very similar design to the ref. 565 cases Taubert made for Patek during the era.

In this quick take, I present for your consideration, several known examples that question this theory as being an absolute truth. Now, that’s not to say that a less than honest seller may pair a rare Patek dial and movement into a similarly designed Taubert case for Doxa and attempt to represent it as original, or that there are even some in the market that have been put together.

But are these stampings really fact or fiction? Are they a ruse and definitive indication of case shenanigans? A contrarian could point to a lack of publicly posted proof that the stamping didn’t get later placed between the lugs on a Doxa case to make a match with the Patek extract — and that would be a potential theory, yet one that would require some unnecessary case work to pull off correctly in addition to raising the question of why even do it in the first place? I can’t imagine a logical reason, as it’s not a value-add feature to have a serial stamped between the lugs of a ref. 565. Let’s assume another scenario; the case was swapped as-is. In this scenario, what stroke of extraordinary luck would it take for the correct numbers to exactly match the last four serial numbers confirmed by a Patek extract? Finally, if the serials had to be removed from a Doxa case and then re-stamped to match the extract, it seems they would just be removed entirely, as the vast majority of Patek ref. 565 cases have no stampings anyway.

Case Study

There are signs that some Patek ref. 565A cases deemed original, appear to have featured four-digit serial stampings on some early examples. For consideration, we can look at several known examples. Let’s start with an example from 1939 that was auctioned by Phillips in the Nov. 2022 Geneva sale and achieved a result of CHF176,400.

The example shown above is noteworthy not only for its very rare black dial, but also for an added bonus of the famed retailer “Freccero” printed on the lower portion and the unique “Acuatic” print at the very bottom. It is one of two black dial Freccero + Acuatic ref. 565 known, with the other later short signature example being discovered at a small auction earlier in 2025. I previously wrote about both of these examples separately here at www.aircooltime.com.

As noted in the Phillips lot, the extract pictured shows the serial number of the case that matches the last four digits seen between the lugs. Knowing a bit about the provenance of this particular piece, I’m confident it’s original to the case made for Patek.

Another early and rare ref. 565A example I personally had in my hands last year in Miami, also had a four digit stamping between the lower lugs. It was fitted with the rare 12-120 SCi indirect seconds movement. According to data presented by Tortella & Sons, the numbers of known steel 565 references with the 12-120 SCi movement are in the range of approximately twenty with this featured example included.

The dial on this example also features an applied, printed Swiss at the bottom. Examining the movement, a PXP stamping on the balance cock (shown in later image) is noted. This was the predecessor import marking on Patek examples to the HOX stamp. Together these features are signs denoting this example was made for the US market.

This example also has a four digit stamping between the lower lugs. The digits match the last four of the serial number on the extract, similar to the Phillips example.

Some additional evidence of this correctness is seen on the inside case back stamping, which confirms the stamping between the lugs to match the last four serial numbers of the case back.

In John Goldberger’s “Steel Patek” publication, there are an additional three ref. 565A examples shown with four digit numbers stamped between the lower lugs; one each from 1939, 1940 and 1943. Two of the three feature the 12-120SCi movement. All are shown with matching serial numbers on the inner case back in the publication. I’m not aware of any examples seen past the date of 1943 with similar serial stampings.

So there we have it - records of several early and rare ref. 565A examples with matched stampings between the lower lugs and the inner case back. Perhaps this was a practice Taubert did for Patek in the early run of the ref. 565 in the late ‘30’s and was not continued beyond the early ‘40’s. What I’ve not observed, are any examples of precious metal cases showing a similar stamping.

A Beautiful Movement

Let’s take a quick diversion to recognize the cool caliber 12-120 SCi movement seen in some ref. 565 examples, including two shown in this article. The movement is fascinating to watch in action and features a Victorin Piguet module positioned on top of the base Jean Pfister-designed 12-120 caliber movement for Patek. The attached module adds height and necessitates the slightly thicker 565 case type seen on these examples, which I’ve covered at www.aircooltime.com in a previous article that reviews ref. 565 case types.

The sweep seconds hand shudder results from the Piguet module with its extra bridge and gearing that relocates the seconds function from the original design at a subsidiary position and creates the operation of a central sweep hand. The indirect drive causes the slight shudder in movement, which was later resolved with the direct seconds 27 SC caliber design and used on a very few 565 and 2508 among other Patek references.

Believe It Or Not

I hope you’ve enjoyed this quick take on a controversial topic, related to an iconic Patek reference which is much respected in the collector community. What do you believe? Are these early examples with serial stampings fact or fiction?

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Acknowledgements

• Special thanks to Matt Bain, www.matthewbaininc.com for the hands-on experience and picture permissions. Two of the ref. 565 examples referenced in this article have once passed through his hands.

• Appreciation to John Goldberger for specific image use on pages noted from his publication, Steel Patek.

• Additional thanks to Phillips auctions and Coronet for image use as noted.

• Images not noted are my own.

In Soldier of Fortune (1955), there is a brief but striking moment when Clark Gable, steady at the helm of a ship’s deck gun, pulls the lanyard and sends a round thundering across the water. It’s a scene built for grit and noise — and yet, on Gable’s wrist, a quiet surprise: a well-mannered dress watch. A Patek Philippe Ref. 1526.

It’s the sort of detail that slips by unless you’re looking for it, but once noticed, it reframes the scene. The perpetual calendar — a watch more readily associated today with collectors, scholarship, and careful handling — appears here entirely unselfconscious, worn in the service of character rather than spectacle.

The camera catches it plainly, the sort of timepiece meant for a hotel bar or a dinner table in the movie set, not for the recoil of naval ordnance at sea. The watch belonged to Gable himself and was worn by him in the movie on a strap with a Cartier deployant clasp. That’s not too unusual, given Gable was also known to own at least one example from that brand. The result of the scene is a charming incongruity, the kind that rewards a careful eye.

Late last year, I published a deep dive into the historically important Patek Philippe Reference 1526 on HODINKEE. That article explored the reference through known examples, scholarship, and the collectors who have carried it forward. This single still image adds another layer — a reminder that the 1526 has long existed not just as an object of study, but as a lived companion, present in moments far removed from display cases and dinner jackets.

The still below appears solely for commentary and analysis of this detail.

For the full exploration of the Patek Philippe Reference 1526 — its history, known examples, and enduring significance — please see my article on HODINKEE:

In Depth: The Patek Philippe Reference 1526.

Matt Bain and his team have re-tooled their website and have been bringing the heat by adding some quick read content on current pieces and sharing stories from past deals, ala the recently published post on “The Bulletin”. If you haven’t read that one in particular, it’s a fun and informative must read!

Background

Here’s a cool and interesting Patek ref. 2431 I recently had the pleasure to spend some time with to write a quick take from observations. The ref. 2431 was produced for a short window of time after its introduction in 1948 until approx. 1955. There were two series, with the first featuring the 12-120 caliber and the second with the 12-400 caliber. I’ve only seen examples in yellow and rose gold, and it’s believed the original production was quite modest with low double-digit numbers now know.

This particular example in rose gold is fresh to the market from South America. The first feature my eyes are drawn to are the very ornate, twisted and sculptural lugs that have a flame appearance of sorts. The design of the lugs evokes Baroque cues and gives this reference a unique appearance on the wrist. Not much beats a great set of lugs!

The Case

With these killer lugs, we’ll start with checking out the case first this time. The case was made by famed Patek casemaker, Emile Vichet (Key 9). Some unique features of Vichet cases are the notched roman numerals seen on the case components. These were presumably used during the manufacturing process to correctly match the components during assembly. This case also features the expected double hallmarks. One is on the lower portion of the crown side and the other is on the backside of the lug. The side hallmark is deep and even, while the back hallmark appears to have been stamped slightly crooked and why I suspect it’s missing a portion of the hallmark and not missing it from polishing, which would be quite unusual on a back side of the case when the rest of the case is strong. That type of hallmark stamping on the lug underside isn’t too surprising to see at times, given the hallmarks were affixed by an outside agency as required for registration and customs. Inside the case back I see the correct original stampings and one service mark. The ornate lugs are the highlight for sure on this reference and overall, the case is in strong condition for the age of this example. As for size, this one clocks in at a little over 34mm diameter with a lug width of 16mm.

The Dial

The silvered dial features a crisp and complete engraved enamel signature, seconds and outer minute tracks. A silvered dial is the usual type seen on this reference and I’m aware of at least one example with a rose dial in a rose gold case. Markers alternate between an Arabic 12 numeral, dots at 3 and 9, then faceted daggers for the other hours, with the exception of no marker at 6 o’clock. Under a loupe, the dial appears to have its original satin finish with appropriate signs of natural, honest aging and oxidation. The markers also have sharp transitions, which are features that can be lost during restoration when the markers are pulled off and polished before re-attaching to the dial. The hands are rose gold baton style for the hour, minute and seconds. They appear original and all of the correct length. Near the crown stem, a verdigris tinge is noted, which is a natural reaction to the copper alloy in the rose gold. It’s not unusual on pieces that haven’t been freshened up for sale and this example doesn’t show any concerning signs of past moisture intrusion into the case.

Of interest to share about this reference during the second series (featuring the 12-400 caliber), a couple different dial types are known in the market. The first type has a dial with alternating stick and dot (for the 3 and 9) hour markers. The second type features teardrop hour markers with a double teardrop marker at 12.

The Movement

The 12-120 caliber movement is in very good condition with no signs of corrosion, and has intact rhodium plating with screw head slots that don’t look beaten or chewed up from past work. It’s not uncommon to see these movements with stray marks on most of the plating and wear to the screw heads from past servicing over the years, so it’s always welcome when they are well-preserved as a sign of a piece not being worn hard and improperly stored over the years.

Closing Thoughts

On the wrist the ref. 2431 has a solid presence and wears well without appearing too large or small, with the attention-getting twisted lugs signaling a definitive cue to its vintage era of production. I hope you’ve enjoyed this quick read. It was a pleasure to spend some time with such a cool, well-preserved example of this reference.

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Sharing a quick read as an update to my previous two articles about Patek ref. 565 Freccero + Acuatic examples early last year. The featured subject is an extremely rare, black dialed example that sold in June at a small auction house in South America. It has a similar dial configuration to my own pink/pink example with faceted hour indices, outer pearl minute track, dauphine hour/minute hands, leaf seconds hand and railway sub-seconds dial.

From a review of the images, this example appears to have an original, unrestored dial with gilt printing and no cosmetic enhancements. The Acuatic transfer gilt print at the bottom of the dial is hard to see in these images, but is present nonetheless. Black dials on certain Patek references are very rare to observe from this era and even more difficult to find with the original lacquer still present. This example does show signs of zapon degradation, yet is eye friendly and seems to be honestly preserved even if it doesn’t show a glossy pop in the images. The case is thick with proper dimensions, showing very strong condition as well for the age. The movement appears to have been serviced several times in the past and remains in good overall condition without excessive signs of wear or corrosion on the bridges. The inner dustcap is present and coupled with the Taubert screwback case design, likely provided decently robust protection from the elements and magnetism over the years.

Overall, I see a piece that maintains its original design integrity with signs of normal aging. The strap is obviously not original and also mis-matched. Without benefit of seeing an extract and just based on the serial numbers, I would date it to have been manufactured in 1950-1951.

The 565 line was produced in steel, yellow and pink gold metals in order of descending numbers and is an iconic Patek reference in its own right. When well preserved and rare examples are offered in the market, they typically realize strong prices. We can look recently at a well-restored, double signed example that sold at auction a few months ago for over CHF 355,000 as a reference point.

Reportedly, this fresh to market subject example was in the possession of the Freccero family, past owners of the famed Patek retailer in Montevideo. It had a listed reserve of $25,000 and estimate range of $30,000 - $40,000. If memory serves correctly, it ultimately sold for approx. $150,000. The price fetched is a testament to its rarity, condition and desirability among seasoned vintage Patek collectors.

While a strong price was realized to the estimate range, I would say it could be viewed as somewhat a bargain of sorts when compared to the previously mentioned example that was well-restored, also double-signed and sold for over twice this price. That example has at least one additional known version in the same dial configuration that’s not double signed and also likely cleaned/restored.

I realize this this may be a debatable view, as I am in the camp that values rarity and easy-on-the-eyes unrestored, original condition over rarity and well-restored like-new condition. Even if well-restored looks fresher to the eyes… it’s still been altered and the original state can’t be reclaimed. As the rare, collectable vintage watch market matures over time, I’m betting the former state with graceful, natural aging will command and maintain the stronger values.

With its recent discovery and sale, this example brings the total of black dial 565 Freccero + Acuatic examples known up to just two total in steel. The other known example from auction was shared here previously. Enjoy a few additional images below, from the public domain.

Feel free to reach me at any of the following:

IG: @aircooltime

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Fig. 1 - 1951 ref. 1593P on Gay Freres + Patek Philippe double signed bracelet.

Introduction

This is the third in a series of articles about shaped Patek Philippe references. As I previously wrote HERE, the ref. 514 served as a foundation for Patek to springboard into some very interesting and beautiful formed rectangular designs in the ‘40s – ‘50’s. The ref. 1593 so-called “Hourglass”, given the flared sides of the case is one such example of an inspired design that became iconic in its own right. In this article, I’ll share some background and take a closer look at the details of this elegant reference.

Historical Background

The ref. 1593 was launched in 1944 and had a production run until around 1967. It featured a modern, graceful design that has maintained a timeless appeal. Over a 23 year span, approximately 1,000 examples in total were produced in yellow, pink gold and platinum. About a quarter of that production was in pink gold and another quarter in platinum. Of these platinum examples, it’s believed half… or 125 examples were originally fitted with a diamond marker dial consisting of baguette diamond settings at 12, 3 and 9 with round diamond settings for alternating hours. Currently it’s believed there are in the 70’s number range of all examples known in platinum metal. It measures 41.2 x 25.4 mm and has a profile of 11 mm. The ref. 1593 became very popular and was followed by several other Markowski cased rectangular examples to be launched subsequently, including the ref. 2441 “Eiffel Tower” and the ref. 2442 “Banana”. The ref. 1593 had a retail price of $1,250 in 1950 (Fig. 2).

Figs. 2-4 - Period catalogue (Fig. 2) and print advertisements highlighting the ref. 1593. Note the images depict two original crystal types; one that has a facet and one that is a smooth dome. Images courtesy of John Reardon Patek Philippe in America.

Interesting, Unique and Special Order Examples

We’ll start off with a few images and pics of some special order and very rare variants. I’ll conclude with a few pics of examples in pink and yellow gold to give an appreciation for the depth and breadth of options known during the ref. 1593 years of production.

Figs. 5-7 - Two unique Cloisonné dial 1593J examples with domed crystals depicting the map of Egypt and Sudan from 1949 and 1950. One example from 1949 (Fig. 5) was auctioned in 2007 by Christie’s for CHF 241,000. Only two unique enamel Egypt map dials are known, with the second example residing in the Patek museum. It’s believed both unique examples to have been special ordered by King Farouk I of Egypt. Images courtesy of Christie’s, Huber & Banbery - Patek Philippe Geneve.

Fig. 8 - Extremely rare ref. 1593R with pink textured dial and faceted crystal created for Guillermin in Paris in 1956 with associated pink bracelet that appears to be likely Ponti Gennari created for Patek. Auctioned in 2007 at Christie’s for CHF 78,000. Image courtesy of Christie’s.

Fig. 9 - Extremely rare gold textured dial 1593J with domed crystal from 1955 on interesting and similar bracelet as pink example, interlaced with a 1593P lot. This example was auctioned at Christie’s in 2003 for CHF 53,775. Most likely created as a special set along with the pink example above for retailer Guillermin in Paris. Image courtesy of Christie’s.

Fig. 10 - A 1593P with black, diamond dial and faceted crystal from 1953. Auctioned by Monaco Legends Group. Image courtesy of MLG.

Fig. 11 - A 1593R with faceted crystal and black dial. Image from Professione Blanco.

Fig. 12 - An extremely rare and well preserved 1593P with faceted crystal, no sub-seconds track dial from 1964. One of just few known in platinum. Pic courtesy of @watchguydotcom.

Fig. 13 - Extremely rare 1593J with faceted crystal stick markers and no sub-seconds dial from 1963. One of two known in yellow gold from auction. On an associated woven bracelet that appears to be likely Ponti Gennari for Patek. Sold for CHF 20,314 in 2004. Image courtesy of Christie’s.

Fig. 14 - A very well preserved 1593R with silvered Fab Suisse dial and faceted crystal from 1954. Pic courtesy of @watchguydotcom.

Figs. 15,16 - A beautiful 1593R with creased dial, domed crystal on an unusual and interesting rose bracelet. Pics courtesy of @roni_m_29.

Fig. 17 - A 1593R with pink dial. Note the blurred aspect created by the faceted crystal and graceful arc of the case side and crystal. Pic courtesy of @roni_m_29.

Fig. 18 - A 1593J with faceted crystal from 1954 in excellent condition. Note the oxidation on the case, a sign the case has been well preserved. Pic courtesy of @watchguydotcom.

Subject Details

Subject example was previously featured in the privately published picture book titled Professione Blanco. The book is a photographic treasure trove of interesting Patek references once owned by a well-known and prominent Italian collector. I’ll take a closer look at some interesting details of this example in the component sections below.

I’ll Figs. 19,20 - Professione Blanco publication featuring a private collection of well-preserved, collectable Patek references including the 1593P with creased dial and domed crystal featured in this article. Book courtesy of Matt Bain.

The Dial and Crystal

Excluding the unique cloisonné examples, there are two types of base dials with different markers or finishes seen during the production run: 1. Those with a bifurcation crease running horizontally between the 9-3 markers and 2. Dials without the crease.

On the dial base, typically seen are examples with applied 12, 3 and 9 markers with alternating dagger markers for the other hours. Diamond applied marker dials are less commonly seen and noted mostly on the platinum and some of the unique and special order examples in other metals. The other and least seen configuration is with applied baton markers similar to Fig. 13. There is one additional platinum example with alternating baton and Arabic markers that was listed in an Antiquorum auction in 2001. I’ve chosen not to include that example since it was passed at auction and shows signs of restoration, so I’m doubtful the dial was correct for the reference.

It’s interesting to note that we also see two different types of crystals on this reference. Crystal examples are: 1. Faceted with an apex point that creates a blurred image of the 9-3 markers and hands when viewed from above or at certain angles and 2. Domed with a gently curve and without the faceted bifurcation in the middle. Perhaps the intention was to create a division in an hourglass “pinched waist” effect of sorts on the dial by one of these methods, either a crease in the dial and/or a facet on the crystal? Although we see both types of crystals on each type of dial, not knowing the history of replacement…an educated guess is that they were both original types. To support this assumption, note the original catalogue and advertisement images published in John Reardon’s Patek Philippe in America book that show both types of crystals featured on applied marker and diamond dial types (Figs. 2-4).

The unrestored, original dial on subject example has the bifurcation crease and the upper section shows the original, very subtlety angled silver satin finish and the bottom section shows an alternate angle of satin finish on the dial surface. Interestingly, not all bifurcated dials have this diagonal satin finish (Fig. 15). The original signature is unaltered and displays rich, bold engraved enamel, as does the sub-seconds hash track. Platinum leaf hour, minute and sub-seconds hands grace the dial.

Figs. 21-23 - Note the opposing diagonal silvered satin finish on the creased dial top and bottom portions. The engraved, enameled signature and seconds track are dark and bold with correct original appearance.

The Case

Master casemaker Markowski, key number nine produced the ref. 1593 case, along with other notable designs to include the refs. 2441, 2442 and 1450 among others. This case retains its original proportions and features chamfers on the sides spanning the entire case. This particular aspect is often lost from polishing, as are the apex points by 3 and 9. The lug tips are all proportional with their original geometry retained through years of wear. Note the deep and crisp hallmark, stamped between the upper lugs in Fig. 28. The satin finishing is still evident on the case top and on the bottom lug tip pillars as seen in Figs. 24-29. Marks on the case from wear over time still appear raw, as they should if not polished. The inner case back has all of the proper markings and stampings for the reference (Fig. 31). Finally, the correct platinum winding crown gets the engine going.

Figs. 24-29 - The case displays original finish, including the side chamfers that span the entire case sides and satin finish on the tops and bottom of the lug bases. The hallmark between the top lugs is deep and crisp with even borders.

Fig. 30 - Note the apex peak on case side by red arrow. This is a feature often quickly lost from polishing.

Fig. 31 - Inside of case back showing correct markings. Pic courtesy of Matt Bain.

The Movement

The ref. 1593 is powered by the venerable shaped cal. 9-90 manual wind movement. Depicted in Fig. 32 is the movement in this particular ref. 1593. For the sake of not being repetitive, please refer to my earlier article on the ref. 514, which has additional details about this fantastic caliber HERE.

Fig. 32 - The cal. 9-90 powering the ref.1593P is in well-preserved condition. Pic courtesy of Matt Bain.

The Bracelet

The extract confirms this ref. 1593P was born with a bracelet and it’s an extremely well-constructed, full length bracelet and quite a work of art to be admired. Its satin brushed brick links reflect light in a subtle, yet refined manner with movement of the wrist. A very coherent look is created and with the watch attached, it should easily accommodate a wrist over 8 inches or 203 mm in diameter. The brick links are tight and the folding clasp allows for more adjustment options when compared to the typical hook and ladder type often seen with this design. The end links have a channel for easy attachment and removal of the period lever spring bars (Fig. 34). The clasp is also correctly marked and double stamped with the period Gay Freres logo, gold marking and Patek Philippe stamping. The clasp also contains a date code of 4/52, which coincides with the date of sale for this ref. 1593 in October of 1952 (Fig. 36). The bracelet wears very comfortably and has an elegant drape around the wrist. (Figs. 35, 37).

Figs. 33-35 - Full length front and back and side views of Gay Freres for Patek bracelet. The bracelet has well preserved satin finish and is in excellent condition.

Fig. 36 - Inner clasp showing correct Gay Freres, metal code and Patek Philippe stampings along with date code.

Fig. 37 - Resting view of ref. 1593 with gracefully draped bracelet… ready to be picked up and worn.

Closing Thoughts

Finding top condition, collector grade examples of the ref. 1593 is not easy as is the case with most sought vintage references of the brand. Many have cases that were a bit polished to the point where key dimensions and features are lost and with dials that were not correctly restored or were replaced with service dials. Prices at present time have a wide range and can be at multiple levels higher for scarce, original condition and well preserved examples. With most popular vintage Patek references, I believe this gap in value will continue to widen over time due to the relatively low numbers produced and increasing difficulty finding those in top, original condition.

The ref. 1593 in general and the 1593P in particular with its associated diamond dial and brick link bracelet makes quite a dynamic, yet elegant statement on the wrist. Even with the diamond markers, I personally see this as a very versatile watch to wear and while it’s perfectly appropriate for such occasion, it doesn’t need to be reserved for just formal wear or cocktail time… heck, I’m even comfortable wearing it with a T- shirt and shorts!

The flowing lines of the Markowski case and elegant curve of the crystal combine to make this reference one that has been very popular over time among collectors. I hope you’ve found this article interesting and informative. Please feel free to share with others and subscribe to my account if you enjoy my articles.

Thanks for reading.

@aircooltime

Fig. 38 - Ref. 1593P on the wrist.

Acknowledgements

*Thanks to Christie’s, Monaco Legends Group, Matt Bain plus team, Huber and Banbery and John Reardon, for the images and pictures used to support this article.

*Thanks to collector friends; @roni_m_29 and @watchguydotcom for generously sharing pictures of ref. 1593 examples in their personal collections.

Figs.1-4 - early ‘70’s Cartier Reverso Dual Time on the wrist.

Background

A Jaeger-LeCoultre inspiration

As occasionally there are mysteries difficult to unravel with some things in Cartier’s past, there are conflicting reports of the initial date period that Cartier introduced a Reverso reference. Some public reports, including two just a couple weeks apart place the introduction in either the ‘60’s or very early ‘70’s sporting a Tank shape, cabochon-topped side winding crown with a solid back (1,2). This design bore homage to the iconic design of the original Jaeger LeCoultre (JLC) Reverso introduced in the ‘30’s.

Several Reverso variants were manufactured by Cartier bearing the Paris print on the dials. These Reverso mechanism watches inspired by the original JLC variant are cool and interesting vintage offerings and were reportedly produced in two versions during the early and late ‘70’s in men’s and women’s sizes (Figs. 5,6). There is also a possible piece unique, featuring a solid case back and lower, frenched winding crown as opposed to the usual cabochon-topped side crown (Figs. 7,8).

Figs. 5,6 - 1980 Cartier Reverso auctioned by Christie’s in Hong Kong, May 2024 for HKD 119,700. Images courtesy of Christie’s.

Figs. 7, 8 - Cartier Reverso, possible piece unique. Images courtesy of John Goldberger.

If one is good maybe two is better?

Cartier Paris also manufactured a Reverso Dual Time (DT) reference in apparently limited quantities during the ‘70’s. The DT currently commands a large premium over the solid back Reverso on the secondary market and is less often seen. Several seen from auction have had repeat appearances at different houses and in public sales, so should not be confused as unique additional examples known. The Reverso DT had dimensions of 24 x 33mm (35mm length including lugs) in a yellow gold case. There was reportedly one known special-order example produced in an alternate 19 x 24mm size as shown in Fig. 9.

Fig. 9 - Smaller size Cartier Reverso dual time. Image courtesy of John Goldberger.

The Dial

There are at least two original different dual dial variants known of the Cartier Reverso DT. In addition to subject example, the additional dual dial designs I have been able to locate are featured in Figs. 10-13. They are listed in order of the inventory number stamped on respective case backs.

The first type is subject example depicted above in Figs. 1-4 with the classic white enamel dial and Paris print on one side and a golden brushed dial with Paris print on the opposing side. The white enamel dial is free of any crazing or chips common to see on these types. The gold brushed dial is an interesting contrast and is free of any marks or damage.

The second type has the classic white enamel dial with “France” print below the center post and lower Paris print on one dial and a champagne dial with “France” print below the center post and lower Paris print on the second dial. I’ve only seen the example shown below with this variant and the example is in top vintage condition (Figs. 10,11).

A third type that’s seen in market features the classic white enamel dial with lower Paris print on one dial and some controversy over the black dial with gold markers and print on the second dial with Paris elevated under the center post. This example previously appeared at Antiquorum auctions in 1989 and 1990 with a description of a white and champagne dual dial configuration (Fig 14). (Figs. 12, 13). Each of these dial variants feature the classic railway minute track and Roman numeral hour markers.

Figs. 10, 11- White enamel and champagne tone dials featuring France print on lower dial inside the railway track and Paris print at dial bottom. Images courtesy of Matthew Bain Inc. @wirelug, wwwmatthewbaininc.com.

Figs. 12, 13 - White enamel and Black dials featuring printed Paris on bottom of white dial and printed Paris inside the railway track on lower portion of black dial. Auctioned on May 30, 2024 for €30,240. Image courtesy of Pandolfini auctions.

Fig. 14 - Previous auction result from Antiquorum in 1990 with same case back number as black dial variant auctioned at Pandolfini in 2024. Image courtesy of Antiquorum.

The Case and Clasp

The case and clasp were manufactured for Cartier by Edmond Jaeger (EJ). On the wrist, the case has more presence than usual Tank references due to the profile and the large, rounded lug design (Figs. 18, 19). Subject example appears original and unpolished. There is a three-digit stamping on the inside carriage that should match the stamping on the inner movement plate on respective examples, which is consistent with the last three-digits of the full case serial number. (Figs. 16, 17).

When compared to the JLC case carriage from the era, a different finish in horizontal brushings is noted for the Cartier carriage which is entirely flat as opposed to the usual perlage finish seen in the JLC Reverso carriage with a side vertical, concave flip channel (Fig. 24 ) The opposing mechanisms are manually wound with thin, frenched crowns that are a neat, subtle design detail (Fig. 18). The case back has a vertical brushed finish, twin eagle head and EJ hallmarks, gold stamping and the Cartier cursive signature at the top and what is presumably an inventory number stamped toward the bottom (Fig. 15).

Functionally speaking, the watch head glides in dual slit channels and when it reaches the endpoint, the channels have a round notch that allows the opposing case bearings (Fig. 18) to pivot and flip the watch head over. A light touch will snap it back down into a locked position on the opposite side by connecting the opposite side bearing into the opposing slit channel notch, in similar fashion to the JLC Reverso mechanism (Fig. 15). The carriage has a very slight tolerance between the mineral crystal and the bottom that ensures neither side is making contact (Fig. 20).

The deployant clasp features the Cartier cursive script stamping on one blade, eagle head French 18k hallmark and EJ stamping which confirm its correct match with the watch (Figs. 22, 21). Like other Cartier models featuring a deployant clasp, it is made of rose gold, apparently for its superior clasp connection and the hue difference to the case is quite subtle but noted in certain light conditions (Fig. 23). A word to the wise…careful wrist measurement is critical to finding a properly fitting strap due to the bespoke nature of the deployant clasp design that does not accommodate holes for different adjustments.

Fig. 15 - Dual Time case back showing double eagle French hallmark, gold stamping, Edmond Jaeger hallmark, presumable inventory number stampings, Cartier signature.

Figs. 16,17 - Dual Time case carriage with three-digit case stamping that matches inner movement plate three-digit stamping.

Figs. 18, 19 - Dual Time case views of a recessed crown, carriage connection bearing and side profile.

Fig. 20 - Gap between crystal and lower carriage bottom has a very thin tolerance to avoid contact.

Figs. 21, 22 - Clasp stampings and signature.

Fig. 23- A rose gold hue of the deployant clasp is evident against the yellow gold case.

Fig. 24 - A comparison of respective Reverso carriage design differences. Image courtesy of Tony Traina, @tony_traina, www.unpolishedwatches.com.

The Movements

Unlike some admired Cartier references fitted with single ETA-based movements that have recently achieved skyrocketing and eye watering prices at auction, the Reverso DT utilized dual ultra-thin movements. Possibly different ebauches were used during the latter production run as noted in Fig. 8 and likely most, if not all examples were JLC based P838 movements placed back-to-back as shown in Figs. 25 and 26. The construction of robust and ultra-thin movements used in this manner is quite interesting and was innovative for the time.

Figs. 25, 26 - Dual JLC based P838 movements for Cartier Reverso Dual Time. Note circled three-digit stamping. This stamping should match inner carriage stamping on respective examples. Image courtesy of Linden Lazarus, @oliverandclarke, www.oliverandclarke.com.

Closing Thoughts

The Cartier Reverso DT offers an interesting interpretation of the iconic Tank design with slightly bowed sides featuring a thicker profile due to the dual timepieces and resulting heftier presence on the wrist. For me personally, this DT variant adds some diversity to the collection, makes for a functional travel companion and scratches an itch I’ve had over time for a vintage Reverso, with its JLC DNA (Fig. 29).

The Reverso carriage mechanism is executed to precision and allows for a manual time zone flip switch with ease. It’s also a fun alternative to a fidget toy for vintage watch enthusiasts (see video)! Beyond the cool fun factor, this reference is interesting for its apparent limited numbers, functionality and unique offering that checks a box for many collectors who are also intrigued by the iconic Jaeger LeCoultre Reverso mechanism and revered Cartier brand. The Cartier Reverso and Cartier Reverso DT are each interesting options for one to consider as additions to diversify a collection (Figs. 27, 28).

Figs. 27, 28 - A Cartier Reverso and Cartier Reverso DT pair. Images courtesy of Alessandro Fanciulli @mr.a, www.avocadovintagewatches.com.

Fig. 29 - Dual Time horizontal profile. Custom fit strap by Torrestraps @torrestraps.

The Cartier Dual Time in motion below.

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Acknowledgements, Footnotes and Disclaimers

Images are either my own, in the public domain or credited as noted. Opinions shared are from my own personal observations and from discussions over time within the collector community. Special thanks to the following for their assistance with images, and/or content discussion.

Matt Bain @wirelug, www.matthewbaininc.com, Vivek Chava @tahomawatches, Atin Chopra @atc6263, Alessandro Fanciulli @mr.a, www.avocadovintagewatches.com, Linden Lazarus @oliverandclarke, www.oliverandclarke.com, Auro Montanari, @goldberger, Kevin O’Dell @theydid, Tony Traina @tony_traina, www.unpolishedwatches.com.

(1) Christie’s. Watches Online: The Dubai Edit, Lot 77. April 30, 2024

(2) Christie’s. Live Auction 23037: Rare Watches Including the Property of Michael Schumacher, Lot 142. May 14, 2024

Fig. 1 - Ref. 2488G on the wrist. Strap by Attila Aszodi.

Background

Patek Philippe produced the ref. 2488 from approximately 1950 to 1959. Scholarship suggests a total production of roughly 500 left the manufacture. Of this production, the vast majority were produced in yellow gold. Patek also produced examples in white, rose gold and platinum. Among the metals, platinum is very rare with only nine examples known and white gold is the most rare with just five examples known in market as of this writing. I haven’t come across much content on this reference in one location, so am hopeful this brief journey hitting some highlights of the ref. 2488 is of interest.

During the ‘50’s, rectangular and square shaped watches comprised a large production volume for Patek. A period advertisement in Fig. 2, showcased the 2488 reference in print. The ref. 2488 was also shown in a period Patek catalogue and listed at a retail price of $525 in yellow gold in 1953 (Fig. 3 ).

The size of the ref. 2488 is in a sweet spot for most wrists, measuring 33 x 35mm with a 20mm lug width and thus it has very nice presence on the wrist without feeling overpowering, as it sports a timeless size. Below we’ll dive deeper into more details of this reference in general and subject example’s components in particular to understand what to look for and appreciate.

Figs. 2, 3 - Period print advertisement and color catalogue images for ref. 2488 courtesy of John Reardon as shown in his “Patek Philippe in America” publication.

The Dial

The subject of this writing was manufactured in 1957, toward the latter production run for the reference. The silvered dial features a bold, engraved enameled signature and sub-seconds hash marked track. The baton hands are white gold, as are the alternating stick and lapped indices at the 3, 9 and 12 o’clock positions. The dial appears to be untouched in original condition with a slight crème tone, especially when viewed against a white background in most light conditions (Figs. 1, 4-6). This layout was the usual type offered in this reference.

There were some unique variations of other dial and dial/case designs that were also made during this period. Interestingly, a few examples are known with black dials as shown in Figs. 7, 8. A rose on rose Freccero double-signed example also appeared at auction in the past (Fig. 9). The few platinum examples known have dials with either alternating square and baguette diamond hour markers (Fig. 10) or a stick and lapped indices hour marker layout similar to subject example. Finally an example of a Breguet double-signed dial is shown in Fig. 11.

Figs. 4 - 6 - Dial highlights featuring full, bold engraved enamel in proper relief as shown under artificial and ambient light conditions.

Figs. 7, 8 - Rare black dial examples with gold print signature in yellow and rose gold respectively. The 2488J example is one of at least two known with black dial. The 2488R example is the only one I have been able to discover with a black dial. Both examples circa 1954. Images courtesy of John Nagayama.

Fig. 9 - 2488R. Rose with rose Freccero double-signed dial circa 1955. Appeared with original papers at Antiquorum auctions in 2001 and sold for $5,750 in 2002. From appearances someone got quite a deal and if all correct, this example would fetch a much higher result today! Image courtesy of Antiquorum.

Fig. 10 - Ref. 2448P with diamond set dial circa 1954. One of nine platinum examples known, five with diamond dials. Auctioned in Geneva, Nov. 2018 by Christie’s for CHF 35,000. Image courtesy of Christie’s.

Fig. 11 - 2488J with patina from oxidization on case and restored champagne tone Breguet numeral, double-signed Black, Starr & Gorham dial circa 1956. Auctioned at Monaco Legends for €10,400 in 2019. Interesting side note, many of the Breguet dial Patek were destined for the US market as was this example noted by the HOX import stamp on movement.

The Case

A unique Wenger creation, square snap back design is executed with rounded and sloped corners that reflect light depending on the position and show a crease optic on the edges at certain angles (Figs. 15, 16, 23). The case appears as originally finished without signs of polishing in the past. The case design isn’t very sympathetic to interventions and the absence of a subtle crease on the lug sides near the crystal point is one way to spot past work, as it would be easily softened or lost completely during a polish. The case bottom has corresponding creases that align with those on the top and when viewed from the side, helps to assess the crispness of the upper crease that should be present in well preserved examples (Fig. 18). The sides feature a downward taper that adds an elegant look contrasting with the Bauhaus dial design. The vertical case sides present with a horizontal satin brushed finish and a deep, crisp and prominent hallmark is noted on the crown side. By this time of production (around mid-’50’s), one hallmark was the norm for gold cases as opposed to two.

Inside the clean case back there is an absence of past service marks. As a casemaker, Wenger is known for cross referencing the upper and lower portions of the case for various references produced. The inside of the upper case features a stamped “15” which corresponds to the last two digits of the case serial number stamped inside of the case back (Figs. 14, 19). The backside of the case features three artistically engraved initials “J. H. G” in deco block (Fig.17). The manual winding crown is compact and features the Calatrava cross, which is correct and began appearing as of the mid-‘50’s on some models. Finally, the crystal is faceted around the borders and has a profile that sits above the case as shown in Fig. 20.

Figs. 12, 13 - Case side features showing crisp hallmark and angled, rounded case edges.

Fig. 14 - Stamping shown inside upper case with last two serial numbers matching to lower case.

Figs. 15 - 17 - Side and back views of case featuring intricate geometric design and engraved initials. Note the crease on lug by arrow in Fig. 15. Images courtesy of John Nagayama.

Fig. 18 - Alignment of creases should appear even and crisp between case back and lug tops when viewed from the side.

Fig. 19 - inner case back showing Wenger key 1 stamping, reference and serial number markings.

Fig. 20 - Note the crystal profile with facets on the sides and rounded, lapidated corners of the case that create light reflection and dimension.

The Movement

The ref. 2488 is powered by the venerable caliber 10-200, featuring a gyromax balance (Fig. 21). This workhorse caliber is double stamped with the Geneva seal and was also used for other manually wound references such as the Ponti Gennari cased 2424. It features hand finished perlage on the base plate and anglage with Geneva waves on the bridges with black polish also evident. The movement is preserved in immaculate condition for the age, as evidenced by the lack of tool marks on bridges, oxidation on plates or disturbed screw head slots.

Fig. 21 - Caliber 10-200 movement with double Geneva seal stampings and excellent preservation. Image courtesy of John Nagayama.

Closing Thoughts

The Patek Philippe reference 2488 production spanned the ‘50’s decade, yet had quite low numbers manufactured over four types of precious metals. This particular example is preserved in exceptional, original condition and makes a nice addition to a collection as a formed square reference.

I look for signs of coherence between case, dial and movement when evaluating vintage watches. Subject example demonstrates a high quality and consistency of these components. The white gold case execution adds to the allure, since during this time in Patek Philippe manufacture, references in white gold were in very low production and even finding them today in honest and strong condition can be extremely difficult. Therefore, this 2488G has the elusive combination of rarity in numbers originally produced, known examples in market today and well-preserved condition that sets it apart. A nice accoutrement is the period white gold Wenger tang buckle that completes the appearance of this sharp example (Fig. 22). Overall, the ref. 2488G with it’s angled, tapered case and slim profile rocks a unique and discreet style that whispers on the wrist.

I personally believe the recent and renewed interest in unique case designs will continue as more collectors explore the variety of diverse vintage examples produced over time in search of individualizing their collection. Such examples haven’t always received the same attention as references with broader awareness and greater production numbers. Surfacing and curating a bit of background information is a motivation for shining some light on this reference in general and on a top condition example in particular. Heck, variety of some form or fashion is cool and as Huey Lewis & The News famously proclaimed in their hit single… “It’s Hip To Be Square!”

Fig. 22 - White gold period tang buckle by Wenger featuring PP. Co and AW stampings.

Fig. 23 - Angled profile of ref. 2488G.

Thanks for reading.

@aircooltime on Instagram

Acknowledgements

A special thanks to John Nagayama of Onbehalf.jp (@johnbehalf on Instagram) and John Reardon (@johnreardon570 and @collectabilityllc on Instagram) for their permissions regarding image use and assistance to verify production figures.

Fig. 1 - Featured subject reference 514A, circa 1938.

Background

The Patek reference 514 is a rectangular, curved wristwatch that was produced in several metals and in very limited numbers. It had an estimated production run from 1934 - 1947. Reportedly a total of 65 were originally manufactured in yellow and rose gold, platinum and steel, making it an incredibly rare reference. The primary focus of this writing is on the steel 514 and subject example.

According to Tortella & Sons, only six ref. 514 were known in steel until the appearance of this fresh to market example. Of those known, one example appeared at Antiquorum in 1989 (Fig. 3), another appeared at Christie’s originally in 2005 (Fig. 4) and two additional times thereafter. Another example is published in “Steel Patek” by John Goldberger. (Figs. 5-7). The final depicted example I’ve been able to locate an image of is shown in Fig. 8. Serving as a baseline for us to understand an original presentation, the ref. 514 as it appeared in the 1937-1938 Patek catalogue, page 8 is shown below in Fig. 2.

Fig. 2 - Reference 514A as shown in original Patek catalogue during the period. Picture courtesy of www.tortella&sons.com.

The Ref. 514 measures 22 x 44 mm, making it among the largest Patek rectangular references. It has historical significance, as one of the first shaped models ever produced by the Maison. The design has arguably the strongest art deco appearance of the early rectangular examples, is an embodiment of the era and conforms to the wrist with an appearance of a railway. It would not be a stretch to consider it as one of, if not the most prominent reference(s) of shaped Patek wristwatches from the ‘30’s, as it served as an illustrious predecessor to some of the later prolific rectangular references of the ‘50’s.

Fig. 3 - Ref. 514A with alternating applied Breguet numerals and baton indices circa 1938. Sold at Antiquorum in “Art of Patek Philippe” auction in Geneva on April 9th, 1989. Image courtesy of Antiquorum.

Fig. 4 - Ref. 514A circa 1939 featuring applied Breguet and alternating baton indices dial. First auctioned at Christie’s on May 16th, 2005. Image courtesy of Christie’s.

Figs. 5 - 7 - Ref. 514A circa 1938 with applied baton indices. Images courtesy of John Goldberger as presented in his publication, “Steel Patek” pgs. 154, 155.

Fig. 8 - Ref. 514A with alternating Arabic and enameled stick indices.

There is only one example of ref. 514 known in platinum. It is shown in Fig. 9 below.

Fig. 9 - Ref. 514P with diamond indices dial. Private collection. Image courtesy of John Goldberger.

Featured Subject

Of interest, this particular example was recently acquired and is fresh to market, not having been documented in published sources as a known example until now and had resided in the famed Italian composer, Guiseppe Verdi’s family ownership until present time. The honest, original preservation of the case, dial and movement are very impressive. An associated letter from the family further confirms the provenance of this fresh to market example (Figs. 10, 11).

Fig. 10 - Ref. 514A circa 1938. Earliest production example known in steel based on information courtesy of Tortella & Sons (www.tortellaandsons.com).

Fig. 11 - Verdi family provenance documentation.

Translation of the excerpt: “A watch that belonged to Maria Filomena Verdi, cousin and universal heir of the master Giuseppe Verdi”.

Note additional information below in Fig. 12 from the archive extract. Patek typically doesn't provide extra information concerning dial description, therefore it is very important that the extract highlights "painted numerals", confirming that the dial was born with engraved, enamel indexes in this case. The serial number of this example is also the oldest known of the 514 reference in steel. Furthermore, I would like to thank Tortella & Sons for the information on this reference and its production. (source: www.tortellaandsons.com).

Fig. 12 - Extract from the Archives for subject ref. 514A.

The Dial

Five of the seven ref. 514 examples now known, are depicted, including subject of this article. Two have dials with alternating applied Breguet and lapped hour markers, one has applied lapped hour markers, another has alternating applied Arabic and enameled stick hour markers and subject example has engraved, enameled alternating Roman numeral and stick hour markers with serifs and blued steel baton hands.

The subject example dial features are shown in (Figs. 13 - 18) below. It is further differentiated with its arched Eberhard-Milan retailer signature over the enlarged sub-seconds, which is the only double signed example known. Eberhard was a boutique establishment in Milan that sold some of the most important Patek watches during the 20th century.

Rarity and originality are key components desired and chased by collectors. The dial of present example was originally brush finished, shows no signs of past restoration or cleaning interventions, presents with a strong and complete engraved enamel signature, sub seconds and outer minute track and is unique among the few known for this level of preserved originality. The engraved, enameled signature during this era of production was made by a hand graver and results in variations in appearance. Present example shows a very bold, rich signature which also retains the comma and accent, markings that are often lost during cleanings and restoration due to the more shallow application of these components making them less resilient to interventions. The open ampersand was often configured in this format, likely to make it consistent in height with the associated letter borders. A very impressive feature to me is to appreciate that the entire dial was hand graved, enameled. A very difficult undertaking with a high degree of skill and hand craftsmanship required!

Later long signatures have a more compressed appearance and were engraved by hand stamping using a cliché, therefore they present with a uniform appearance from one example to another. After stamping, they too were filled with an aqueous enamel paste before kiln firing.

The pictures below highlight some details viewed under 200x or greater electron microscope examination. Note signs of attention to detail, including a serif on the tips of the enameled indices, most evident on the microscopic picture (Fig. 16). The proper relief of untouched enameled engravings are noted under extreme magnification in Fig. 14. Natural aging is very evident with oxidation marks and a few scratches on the dial that likely occurred with less careful handling during a servicing long ago. The overall tone is evident of aged zapon lacquer originally applied to protect the dial when finished. Signs of normal age and oxidation marks are welcomed to observe and expected on a dial in a snap back case from this era. The mineral crystal protecting the dial has angled facets around the perimeter (Fig. 19).

Figs. 13 - 18 - Magnified dial detail photos, including those taken with electron microscope of up to and greater than 200x magnification.

Fig. 19 - Side profile illustrating original, faceted mineral crystal

The Case

The case was made by A&E Wenger (Key 1), yet does not show maker stampings inside the case back (Fig. 31), likely a practice that evolved with later cases as the case back of the ref. 514 published in “Steel Patek” (Fig. 7) has the same appearance and absence of maker stampings. Additional rectangular cases made by Wenger for Patek include the 417, 486, 490 and 492 references among others. The style of these cases made Wenger renown for their art deco designs. Additionally, Wenger was an innovator in the development of formed and steel cases, so therefore were a favored case maker by Patek during this era (Fig. 20 ). They also produced buckles used by Patek and others for many decades (Fig. 39), including the buckle supplied on the original strap for subject of this article (Figs. 37, 38).

Fig. 20 - Period advertisement for Wenger. Image courtesy of John Goldberger.

This particular ref. 514 case back has a very interesting engraving, which is that of the Savoia Italian royal family, King of Italy. (Fig. 21). An additional example of a 1463A from ‘41 (same year the 514 was sold per extract) with this exact coat of arms is published in “Steel Patek” (Figs. 22, 23) and a recently discovered 565A with the same engraved coat of arms from ‘41 (Fig. 24, 25) - to total three different references of steel Patek known in market bearing this same engraved royal coat of arms that were all apparently gifted to important individuals in ‘41. The likely and logical conclusion given the time period and other documentation noted above, is that this ref. 514 was gifted to the Verdi family by either Umberto II or Vittorio Emanuele. It’s been in the family as previously noted and only recently came to market for the first time and into my hands. I’ve been collaborating on additional research to learn more about the history and hope to have an update to share in the future.

Fig. 21 - Subject ref. 514A case back engraving of the Savoia Royal family coat of arms.

Figs. 22, 23 - Ref. 1463A from 1941 with Savoia royal family coat of arms. Images courtesy of John Goldberger “Steel Patek” pgs. 271, 272.

Figs. 24, 25 - Ref. 565A with enamel indices, double signed Hausmann & Co signature dial and Savoia royal family coat of arms from 1941. Property of Alex Ciani.

When viewing the case from a side or angled profile, one can see where the “railway” nickname was derived with the arced and triple stepped sides that provide a visual balance and evoke a very art deco theme. The lugs are extended and the case back is slightly curved. The other reference that carries a similar stepped case visual is the 524, which is also very, very rare in steel with fewer than five examples known. One example is shown with a black dial (Fig. 32). Another known example shows a similar dial type to the subject ref. 514, without sub-seconds.

The case of subject example ref. 514 is preserved in original and unpolished condition with very sharp transitions on the sides and satin brushed finishes on the upper and lower case tops. (Figs. 26 - 30).

Figs. 26, 27 - Ref. 514A case side profiles.

Figs. 28 - 30 - Side case and lug profiles illustrating untouched original finish and crisp lines.

Fig. 31 - Inner case back with correct stampings and very recent service notation in red marker.

Fig. 32 - Ref. 524A very rare “Drivers” with black dial. Image courtesy of John Nagayama.

The Movement

Fig. 33 - 9-90 caliber movement from subject example.

The iconic 9-90 formed movement resides in the ref. 514 (Fig. 33). This movement is still regarded as one of the most important time only Patek movements produced. The 9-90 caliber was used in many rectangular references, as opposed to a round movement. Some other notable references using the caliber 9-90 include the 2441 “Eiffel Tower”, 2442 “Banana”, 1593 “Hourglass”, 1450 “Tophat” and 425 “Tegolino” among others.

As noted, the movement retains great condition with its rhodium finish, weighted balance, anglage and Geneva waves all appearing in very well-preserved condition for the age. This example has a monometallic, weighted balance wheel. Later variants contained bimetallic and then finally Gyromax balance wheels. It’s interesting to note this very early 9-90 caliber movement is clean and has fewer engravings on the lower plate, showing just the serial number and signature, whereas information about numbers of jewels and adjustments are typically observed. It’s believed the 9-90 caliber movement first appeared in 1934. The serials from 1934 - 1950 range from 830,000 - 839,999. You can read more about the 9-90 caliber movement in this article by @watchguy.com Here.

Summary

A very rare and important gem that has unique attributes, making the present example quite desirable. It’s extremely difficult to find any example from this era preserved in original condition with pleasing patina and even more so a great find when it happens to have this level of scarcity as a reference. Of interest, the strap and AW buckle (shown in Figs. 37, 38) are original to the watch, as is the original box (Figs. 35, 36). The associated and very recently issued extract from the archives confirms the watch has matching serial numbers of movement to case and dial configuration.

As a sign of the enduring design and a nod to the ref. 514, Patek issued the exclusive 5101P at Basel World in 2003. This new release was Patek’s showpiece and featured a Ten Day Tourbillon encased in platinum. The case borrows the triple stepped side design from the legendary ref. 514 and the salmon dial is reminiscent of an aged vintage dial appearance. (Fig. 34).

Fig. 34 - Ref. 5101P auctioned at Sotheby’s, November 5th, 2023. Image courtesy of Sotheby’s.

Final Thoughts

This very rare and important rectangular reference is complimentary to my current personal collection of iconic Patek references in steel and gold. In addition to the numerical rarity, it’s of great interest for me to acquire a piece of this age in original, unrestored condition.

I believe many of the notable formed references are due for a renewed level of appreciation among the collector community. As of this writing, I’m offering a prediction that special, low production references, especially those with the 9-90 caliber movement will see even greater interest as desired and curated additions to more vintage Patek collections over the coming years. A closing final picture on the wrist, to share a perspective of scale and presence when used as intended (Fig. 40).

Thanks for reading.

@aircooltime

Figs. 35 - 38 - Featured subject example ref. 514A in original box on original strap with original AW (Wenger) buckle.

Fig. 39 - Period advertisement for A&E Wenger buckles. Image courtesy of John Goldberger.

Fig. 40 - On the wrist.

Acknowledgements

This writing about the steel reference 514 represents my personal views, images, opinions and experience. It was completed with editorial review and private photographs supplied by Alessio Zenga and Lorenzo Rabbiosi of Alessio Zenga Vintage Watches, in addition to Auro Montanari aka “John Goldberger”. Additional engraving research/discussion courtesy of Auro Montanari, Alex Ciani, Adam Victor and @watchknut. Some references and a private photograph are attributed to documented work of Tortella & Sons as noted. Additional images obtained from public domain and credited accordingly. I am grateful for the collaboration and contributions made to the written, historical and pictorial content. All private information and associated images shared in this writing were used with express permission as described and annotated.

*, ** A special thanks for the multiple images that were used for the purpose of creating a robust reference work.

*Figs. 1, 8, 10, 11, 13-18, 21, 26, 27, 31, 33, 35-38 - Images courtesy of Alessio Zenga Vintage Watches

**Figs. 5-7, 9, 20, 22, 23, 39 - Images courtesy of Auro Montanari aka “John Goldberger”

Figs. 1, 2 - Vacheron Constantin ref. 4984, so-called “Lips” circa 1954 on the wrist. Note the different light conditions and their effect on the dial’s appearance.

Background

During the ‘50’s, Vacheron Constantin produced some daring case and dial designs that reflected the exuberance of the time, somewhat in parallel to the avant garde designs seen in the automotive world. These designs were not just unique in terms of case shapes with curved lines but also offered interesting dial layouts, often featuring unique, chic guilloche patterns or diamond indices. These emblematic designs have served as inspiration for watchmaking since their appearance.

The main subject of this writing is a Vacheron Constantin reference 4984 from 1954. It was a rectangular design Vacheron Constantin produced during the era, in addition to other noteworthy and rare, artistic rectangular references such as the 4591 (Fig. 5), 4739 (Fig. 6) and 4775 (Figs. 3, 4).

Let me digress momentarily to comment about Vacheron Constantin in general. A great review of the history of Vacheron Constantin can be found Here from a past lecture at the NY Horological Society titled “Journey Through the Secrets of Vacheron Constantin” presented by Christian Selmoni @selmoni.christian, Heritage & Style Director of Vacheron Constantin. Fig. 4 below is seen near the 1:08.05 mark of the lecture and depicts the rare rectangular reference 4775 from the ‘50’s with flared lugs resembling butterfly wings. In this segment of the lecture, there is some brief discussion acknowledging Vacheron Constantin made some of their creative references in extremely low production. From personal conversation with Christian, it was shared that arriving at an exact number of a given vintage reference originally produced is very difficult, due to the chronological nature of the archives and in some cases incomplete data with respect to cataloguing a certain reference. As such, we are left to speculate on the actual original production of some references. I can also share from personal research, that I was able to locate a record of just 5 unique public auction offerings of ref. 4984 by the large auction houses and do not have information on other examples that may be known privately outside of the auction space, such as subject example. A special thanks to Christian for his assistance in sharing some background information and for documenting the subject example’s correctness and year of production.

Fig. 3 - Vacheron Constantin ref. 4775, so-called “Butterfly”, circa 1955. Image courtesy of Phillips auctions.

Fig. 4 - Vacheron Constantin ref. 4775 pictured next to an Alfa Romeo, as featured in Christian Selmoni’s presentation to the NY Horological Society on January 6, 2021.

Fig. 5 - Vacheron Constantin ref. 4591, so-called “Hour Glass” circa 1959, courtesy of Phillips auctions. Note the similarity of a pitched crystal to the Patek 1593 “Hour Glass”. Interestingly, the applied Maltese cross logo is believed to have made its appearance sporadically on some dials as early as 1948.

Fig. 6 - Vacheron Constantin ref. 4739, so-called “Topolino” circa 1951, courtesy of Antiquorum auctions. An almost identical case shape is also seen on the Patek ref. 2503.

The 4984 Dial

Featuring a quadrant layout with alternating vertical and horizontal guilloche patterns that span to the dial edges and smooth stampings for sector sub seconds and signature with printed Swiss at the bottom. The signature and the sector sub seconds markers are executed in engraved enamel.  Note the quadrant theme is carried from the 15 minute segments with contrasting guilloche to the stamped sector hash of the sub seconds and its squared surrounding borders.  The markers lend a sense of flight or forward motion to the dial with the angled and faceted triangular markers, alternating pyramid shaped 3, 6 and 9 with the lone arabic marker at 12 and baton shaped hands tracking the time. It’s speculated and likely that the dials were supplied by Stern Freres at the time with the engraved, enameled signature, including the guilloche. Some of these Stern Freres guilloche machines are now with Vacheron Constantin.

With consideration of the dial markers, guilloche engraving and complementary smooth stampings for the upper signature and lower sub seconds, the dial is quite balanced, elaborate and elegant in its execution. The unrestored condition observed with a complete and bold engraved enamel signature is impressive.

Figs. 7-9 - Dial out of case showing exceptionally preserved condition. Note the complete and original engraved, enameled signature and dimension of alternating horizontal and vertical guilloche patterns.

The 4984 Case

The case is a complicated design and was made by famed casemaker Francois Markowski, Key 8. Markowski is known for artistic and formed case designs from this era and was also the case maker for the previously mentioned unique rectangular Vacheron Constantin refs. 4591, 4775 and 4739. Markowski is also noted for some famous Patek case references, such as the so-called “Eiffel Tower” 2441, “Hourglass” 1593, “Tophat” 1450, “Manta Ray” 2554 (Fig. 18) and the very intriguing Gilbert Albert references as published by John Reardon Here. 

This ref. 4984 case presents in top level condition when compared to other examples known, retains its original finish, crisp transitions and is unpolished. The case size was considered quite large for the period, measuring approx. 24mm wide by 40mm in length. It wears nicely on the wrist and commands a definite, yet comfortable presence.

Note the elegant profile views featuring the original satin finish contrasting with the polished finish and elaborate concave design resembling lips, wings or a mustache when viewed from the side. The outer lugs flare outward in similar fashion to the Patek ref. 1593, yet feature beautiful chamfers on the edges that span from the mid-section of the case and expand to the lug tips. The winding crown is original and partially recessed into the case and actuated by pulling from the bottom. The opposing case side features an apex on the side profile which meets the convex portion immediately above.

The crystal appears original, has a few marks from wear, yet is noted for the beautiful domed profile that also makes taking pictures a bit difficult. It features beveled edges that completely border the entire span, whereas replacement crystals don’t typically have this extra detail. The facets are more visible in the enlarged pics below.

Figs. 10- 17. Note the elegance and attention to detail shown in the profile views, partially recessed crown, lug chamfers, deep and crisp hallmark, original satin finish on case sides, snapback and completely beveled and domed crystal.

Fig. 18 - Patek 2554G so-called “Manta Ray” from 1958 with a cleaned dial featuring a similar shaped and more subdued case, as also designed by Francois Markowski. Picture courtesy of Sotheby’s auctions.

The 4984 Movement

The shaped movement is reference 435/3C, which is based on a LeCoultre ebauche. I’m sharing a pic of this movement type below from the public domain for reference. The execution and finishing of the movement was to very high standards, featuring hand finished Geneva waves, anglage and perlage on the base plate.

Fig. 19 - 435/3C movement image courtesy of “the eclectium”.

In Summary

A stunning and very rare reference by the numbers known and for the condition observed. As a collector, it’s always exciting to find interesting examples that have survived many decades, preserved in unrestored and top condition for the age. As mentioned earlier, from my research I located record of only 5 additional ref. 4984 examples known to market via the major auction houses, three in yellow gold and two in pink gold. It appears the reference was produced during a very brief span up to 1955.

In 2011 at SIHH, Vacheron Constantin launched the contemporary “Aronde 1954” model in it’s “Historiques” collection, which was designed as an homage to resemble the ref. 4984. Although similar in appearance, it is not identical when compared to the ref. 4984 in the execution of its case and dial.  The Aronde 1954 also differs in that it features a round vs. shaped movement as was seen in the ref. 4984. It does offer a modern interpretation of this interesting reference and that certainly has its own appeal. I personally prefer the charm and overall execution of the vintage reference, albeit they are difficult to find given the very low numbers known, so a welcomed gesture to offer a similar looking and modern example for collectors to enjoy. It is interesting that Vacheron Constantin decided to release a modern reference that was inspired by such a low production vintage reference and as such, speaks to the unique design appeal. It’s nice to see a manufacturer reach back to an era of evocative design to inspire a new contemporary offering.

Figs. 20, 21 - “Aronde 1954” from the “Historiques” collection. Views of the case profile, dial and round movement. Photos courtesy of “the eclecticum”.

I personally believe vintage Vacheron Constantin references such as subject example are very interesting and represent a high water mark for haute horology design during the era. Collectors would be well advised to appreciate this brand for its vintage proposition of value to quality of execution. I appreciate some of the special and unique vintage offerings from the brand in top condition as complimentary and diversified additions to a collection. The references mentioned here are truly scarce by the numbers and if well preserved, among the highest quality of “complete packages” (dial, case, movement) produced during the time. Please enjoy the closing side profile pics of this example (Figs. 22, 23) and side by side pairing pics with another period Vacheron Constantin reference 4897, now in the personal collection of Roni Madhavani @roni_m_29 (Figs. 24, 25)

.Figs. 22, 23 - side profile views of ref. 4984.

Figs. 24, 25 - side by side with ref. 4897 featuring a unique wavy pattern guilloche dial. An interesting guilloche dial comparison and contrast of styles offered by Vacheron Constantin in the ‘50’s.

Thanks for reading.

@aircooltime

Fig.1 - On the wrist.

Background

The Patek 1579 was produced from 1943 until 1964. In total, approx. 470 examples were manufactured in yellow gold (250), rose gold (185) and very few in steel (7 currently known) and platinum (3 currently known) according to published scholarship. Given the 21 year production run, the total pieces manufactured was quite low. With approx. 470 originally manufactured, it was made in lower production than several contemporary 13-130 chronograph references, including the ref. 130 (approx. 1500) and the ref. 1463 (approx. 741). In addition to the lower production, the degree of difficulty in finding a correct example with its original, unrestored dial and well preserved case is quite high.

The most rare by metal type are the two-tone examples. Two examples are known and both were retailed by Gubelin. One example is a steel and yellow gold lug variant with champagne tone dial. The other known two-tone example is steel with rose gold lugs and a silvered dial with rose gold dial markers, double signed with the retailer signature. Both of these examples are depicted in “Patek Philippe Steel Watches” authored under the pen name of John Goldberger (Auro Montanari). See following images in (Figs. 2 - 7) below for some examples of these rare variants.

Fig. 2. - Very rare rose on rose First series 1579, double signed Freccero from 1949. Sold for 177,800 CHF. Image courtesy of Phillips auctions.

Fig. 3 - 1957 Second series, Mk2 1579R with radium dots by indices and radium dauphine hands. Possibly unique example, extract confirmed. Image courtesy of Bernardini Milano.

Fig. 4 - Extremely rare 1953 yellow gold 1579 with unique engraved, enameled Breguet dial. Sold most recently after several auction appearances for 793,750 CHF in 2023. A previous result of 505,000 CHF was achieved at Christies in 2007. This is the only example of an enameled Breguet indices without outer scale dial currently known and extract confirmed. Image courtesy of Phillips auctions.

Fig. 5 - Extremely rare 1946 Platinum First series with evident signs of past restorations. Sold for 1,940,000 CHF. Image courtesy of Phillips auctions.

Fig. 6 - Extremely rare steel 1579 with Pulsometer dial. This example is the only known 1579 to bear this rare dial configuration made in steel. Movement made in 1941, case and dial made in 1950. Completed by special request in 1991. Sold for 8,769,999 HKD in 2018. Image courtesy of Sotheby’s auctions.

Fig. 7 - Extremely rare steel and yellow gold 1579 First series from 1943 with signs of a cleaned champagne tone dial. Sold for 1,107,000 CHF in 2011. Image courtesy of Christies auctions.

Yellow gold was the most common of original production with approx. 250 produced and today just a little over 100 examples are known in this metal from original production. Regardless of metal, this reference is quite difficult to find in original, unpolished or unrestored condition and few are known without some degree of restoration having been performed in the past. It’s also particularly important to find this reference with a strong case, given the stylized and unique faceted lug design. Originally sold on a leather strap, shown in a Patek catalogue from the early ‘50’s (Fig. 8)

Fig. 8 - 1951 catalogue image of a 1579 Second series, Mk1 dial. Retail price at the time was $750 USD. Image and reference courtesy of “Patek Philippe In America”, authored by John Reardon.

The Dial

Generally speaking, there was a First series and Second series dial for the 1579. The First series is noted by its alternating enameled stick and applied Arabic hour markers with thin baton style hands that debuted and appeared on the reference until 1950.

The subject example from 1956 that I’ll now focus on with more in-depth analysis, has a Second series, Mk2 dial, featuring alternating geometric pyramid shaped and arabic 12, 6 indices with leaf hands. A key difference between a Second series Mk2 dial, and a Mk1 is the “chemin de fer” or railway seconds track on the Mk1, whereas the Mk2 dial has an open track. The Second series dials were seen through final production of the reference from 1950-1964. Exceptions to these commonly known series include the possibly unique enameled Breguet dial shown in (Fig. 4), the Pulsometer dial, of which few are known and an example shown in (Fig. 6) and a Mk2 example with radium dots and dauphine hands (Fig. 3).

The subject dial is an unrestored, original dial with engraved enameled signature, sub-dial and outer tachymeter scale. A view of the backside indicates the original and consistently aged filing marks from fitment of the dial at manufacture to the movement without later signs of alterations to the dial marker feet or signs of reattachment. When dial work has been performed in the past, there are evident signs of markers being pulled off the dial and reapplied. Additional detailed views of dial shown (Figs. 9 - 12).

Fig. 9 - Dial out of case showing original engraved enamel and finishes.

Fig. 10 - Angled view of dial details and engraved, enameled signature.

Fig. 11 - Original engraved enameled seconds counter and outer tachymeter scale. Note the appropriate relief and appearance of the engraved enamel under light.

Fig. 12 - Original engraved, enameled minute counter, outer tachymeter scale. Note sign of oxidation on edge of hour marker.

The Case

Manufactured for Patek by renown casemaker Wenger, Key number 1. Wenger also made cases for the Patek 2497, 2499 (in addition to Vichet), steel 130, 2551 and 2552 among other references.

The case is a three piece, snap back design with soldered lugs. The last three digits of the matching case back serial number are stamped inside the 5 o’clock lug (Fig. 21). Serial number stampings inside a lug are also seen on other Wenger cases such as those for the 2499 and 2497. This practice is another checkpoint for ensuring a given case back matches the mid-case on these references.

The case is large for the era, measuring 36mm, which is 1mm larger than the 1463 two register chronograph sibling. The bezel is flat and creates an enhanced visual of a large dial area when viewed on the wrist. This was the only Patek chronograph made with a case featuring unique, styled lugs with intricate facets which bears the moniker of “spider lugs” among collectors. The lugs have a width of 20 mm.

Cues of originality include the appearance of facets, brushed finish on outer aspect and inner angle of lugs and deep, even hallmarks. The hallmarks show strong Helvetia head stampings and deep, even borders consistent with a case which was evidently spared from the polishing wheel and exhibits general wear from use over the years. Original brushed finish is also still evident on the case back. The facets of the case are critical to the overall appearance of this reference. When viewed from above, the lugs have four distinct facets. Often these lugs lose some of the facet lines and overall form from polishing given the delicate angles, so finding crisp examples with the original facets is not easy. It’s hard to beat a great set of lugs on this reference and common to find examples with very rounded form or with facets that have seen some enhancement to sharpen them back to original appearance. To a trained eye, signs of proportion alteration can be noted on such examples. Careful inspection of the angles, finish, symmetry and hallmarks help to confirm the state of condition. See the following for case details (Figs. 13 - 21).

Fig. 13 - 5 o’clock lug showing original finish, facets and deep, consistent hallmark with full relief.

Fig. 14 - 11 o’clock lug showing original finish, facets and deep hallmark with full relief.

Figs. 15, 16 - Detail of lug showing the original facets with wear from use. These facets are commonly lost or softened from mechanical polishing or observed as very sharp when enhanced, with changes to their original geometry. The four facets on lugs should appear as noted in Fig. 16.

The original crown features a Calatrava cross logo, which was introduced around 1955 on some models, including the 1579. A reddish hue from oxidation is seen on some aspects of the case, which is another good sign of originality (Figs. 18, 19). Upon inspection, a notched area is shown by the crown contact point with original finish. A corresponding notch is also noted on the case back (Fig. 17).

Fig. 17 - Upper bezel and upper edge of case back showing original, notched areas by crown detent.

Figs. 18, 19 - Examples of case oxidation with the magenta hue that collectors like to see.

Fig. 20 - Case back showing signs of original finish.

Fig. 21 - First digit shown, of last three matching case serial numbers on inside of 5 o’clock lug.

The Movement

Caliber 13-130 shown as preserved in exceptional condition. Adding to the charm from this era is to appreciate the art of the finishing such as anglage, perlage, Geneva waves and black polish which were performed by hand without the aid of advanced machining like today. Twice stamped with the Geneva seal. (Fig. 22) Because the case is a snapback design with square pushers that don’t have gaskets, it’s important as always, to closely note the condition of the movement for signs of how a particular example was maintained over the years. For instance, note signs of past moisture intrusion on an example recently auctioned at Antiquorum in Monaco (Fig. 23).

Fig. 22 - Showing a very well maintained 13-130 movement. Twice stamped with Geneva seal.

Fig. 23 - 13-130 movement and inner case back edge showing signs of wear and moisture intrusion. Image courtesy of Antiquorum auctions.

In summary

The 1579 has a place among the great vintage Patek chronograph references. Far fewer of the reference were manufactured over the 21 year production run than other period two register chronograph references, the ref. 130 especially and also the ref. 1463. Given the numbers known, finding a 1579 in original, well-preserved condition is difficult.

The multi-faceted lug design is unique and adds a touch of style not seen on other chronographs from the era. This reference has a great balance of wrist presence without being too large or too small for most wrists. Subject example is shown on an Hermes style strap with the original gold buckle (Fig. 24). Given the stylized lug design, this reference may wear best on a strap as originally offered as opposed to a bracelet to avoid eye distraction with the lugs, but either option may work well. A few final pics to share in (Figs. 24 - 27). Thanks for reading.

@aircooltime

Fig. 24 - Original yellow gold tang buckle with stampings.

Fig. 25 - Front profile.

Fig. 26 - Angled profile highlighting the engraved enamel, indices and original case form features.

Fig. 27 - Opposite profile view. Note the crisp case and deep hallmark original forms.

(Fig. 1 - Advertisement from the era, image courtesy of @vintagewatchesarchive)

Background and brief history

The Ponti family arrived in Switzerland around 1850 and the two brothers opened a jewelry factory in Geneva.  The Gennari family joined their cousins in the early 19th century, and the company was renamed Ponti Gennari.

In 1946 they hired a key employee, a young man named Gerald Genta, who no doubt was instrumental with his influence on the company and their bold and daring designs.  Reportedly when his contract termed in 1950, he took his tools and threw them into Lake Geneva, proclaiming he would never be an employee working for a “boss” again and he kept his word indeed. (Fig. 2). Read more here, Gerald Genta.

(Fig. 2 - employment document between Ponti Gennari and Gerald Genta - image courtesy Stan Ponti/@gerald.genta.heritage)

Over time, this business expanded, particularly in watchmaking components (cases and bracelets) for major houses such as Patek Philippe, Vacheron & Constantin and Piaget. In addition, a segment of production included ladies jewel watches and bracelets for the likes of Patek (Figs. 10, 11, 29, 30-35) and Cartier (Figs. 27-28).

Ponti Gennari received recognition and accolades for their top quality creations. As published in Europa Star, the firm won a jewelry design competition in 1967 within the watchmaking segment for the design of a unique handbag watch, besting a well known former employee, who was then working with Audemars Piguet (Fig. 37). As an aside, perhaps the honorable mention received by referenced former employee served as a form of inspiration for him to achieve greater heights during the next decade?

Around 1970, the company and the building on Rue des Vieux Grenadiers were sold to Piaget (Ateliers Réunis). The building was later acquired by Patek Philippe, which turned it into its museum as it remains to this day (Figs. 3,4).

(Figs. 3, 4 - Original Ponti Gennari manufacture, today the Patek Philippe museum. Images courtesy of @jojolamontre)

Cases

While the company is most oft regarded for their amazing and sometimes avant-garde bracelets, they also produced some exceptional cases for wrist and pocket watches for the likes of Patek Philippe, Vacheron & Constantin, Omega, Zenith and Piaget.  As a case-maker, Ponti Gennari developed some interesting, bold and fluid designs for their clients over several decades.  Their Maker stamp on the inside of such cases is Key 26 (Fig. 5 ).  Among the interesting case designs the company manufactured for select brands include;  Patek references 1436 (later series), 2540, Vacheron & Constantin “Cioccolatone” reference 4373 and a “disco volante” style pocket watch during the ‘80’s, after they were acquired as the in-house case maker for Piaget (Figs. 6-11).

(Fig. 5 - inner case-back bearing the Makers key stamping of 26, image courtesy of @vintagewatchesarchive).

(Fig. 6 - Patek ref. 1436 J Breguet dial from ‘59. Later generation cases such as present example by Ponti Gennari. First generation cases by Emile Vichet. Image courtesy of Phillips auctions).

(Fig. 7 - ‘65 Patek ref. 1436 J with crown split seconds actuator. Important and only known double-signed Gubelin example in market. Image courtesy of Christies auctions).

(Fig. 8 - Vacheron Constantin ref. 4737 R, image courtesy of Matthew Bain).

(Fig. 9 - Patek ref. 2540 J, image courtesy of Sotheby’s auctions).

(Fig. 10 - ‘80’s Piaget Disco Volante style pocketwatch retailed by Jean Ete Paris, image courtesy of Everywatch).

(Fig. 11 - Patek ref. 3363/2 18k integrated jeweled ladies watch and bracelet from the ‘60’s, image courtesy of Grallium).

Bracelets

In my opinion, among the top tier bracelet manufacturers of the era, Ponti Gennari was at the pinnacle and concentrated their bracelet design and production work in close collaboration with very few and select watch manufacturers.  Other top bracelet manufacturers of the time included Gay Freres, which also produced bracelets for the top watch brands, yet were much broader in their work with production for additional brands.  Jean-Pierre Eccofey is another of the top bracelet manufacturers of the time and well known for many mesh and beaded examples worthy of mention. 

In the hand and on the wrist, the level of craftsmanship and presence of the Ponti Gennari bracelet examples I personally own is unparalleled.  The finishing and attention to detail are quite evident and when worn add a welcomed level of panache to the attached timepiece. These bracelets also include markings, stampings of the manufacture in addition to the makers stamp consisting of the letters “PG” bordering a star inside a diamond shape, which along with the metal mark takes a back seat to the brand stampings and is hidden inside the clasp. (Fig. 12). 

(Fig. 12 - PG maker stamping inside bracelet clasp).

(Fig. 13 - Patek stamping on inside clasp).

Figs. 14, 15 - note the quality of construction with closed and notched end-link tube and finished outer beading on rose beaded bracelet ).

(Figs. 16, 17 - Beaded bracelet full length halves and on Patek ref. 565 R).

Several additional examples of their bracelets showing different designs include the very rare and bold so-called “lobster” or “scalloped” bracelet also known officially as Type G in the Patek catalogue, which was made exclusively for the ref. 2526 (Figs. 18 - 22) and the beautiful and intricately designed Type O bracelet shown in Fig. 23.

(Fig. 18 - inner clasp on Type G Lobster/Scallop bracelet).

(Fig. 19 - full length Type G bracelet for Patek ref. 2526 J).

(Fig. 20 - Type G bracelet on the wrist. Note the fluid and intricate design).

(Fig. 21 - Stamped opposing PP on clasp).

(Fig. 22 - Patek stamping on inner clasp of Type G bracelet. A common observation seen on bracelets made in collaboration and specific to and for Patek references).

(Fig. 23 - Type O bracelet listed in Patek catalogue material for ref. 2573 and shown on ref. 2551 G. An attractive combination. Often these special bracelets were placed on similar shaped references per customer preference. Image courtesy of Ali Nael).

(Fig. 24 - Patek 2540 J from ‘61 with Milanese style bracelet. Image courtesy of Sotheby’s auctions).

(Fig. 25 - Patek ref. 1450 P from ‘56 with diamond marker dial, secured on a 18k white gold bracelet. Image courtesy of Sotheby’s auctions).

(Fig. 26 - Patek ref. 534 R from ‘41 on integrated ‘grain-penche’ or angled bead style bracelet. Image courtesy of Sotheby’s auctions).

(Figs. 27, 28 - Cartier ladies diamond and 18k bracelet with stamped clasp by Ponti Gennari from 1925. Images courtesy of Bonhams auctions).

(Fig. 29 - Patek ref. 1276 J from ‘45. Ladies concealed dial in elaborate, braided bracelet. Image courtesy of Sotheby’s auctions).

(Fig. 30 - Patek ref. 4117-1g from ‘73. Unique ladies elliptical white gold and diamond bracelet watch with turquoise and butterfly wing dial. Retailed by Asprey. Image courtesy of Sotheby’s auctions).

(Figs. 31-33 - ‘61 Patek ref. 3006/7 with diamonds and rubies. An important example that likely required very close collaboration between Patek, case-maker Emile Vichet and Ponti Gennari. Figs. 31, 32 illustrate integrated and intricately designed ladies 18k braided bracelet with hinged cover containing diamonds and rubies over hidden dial. Fig. 33 of stamped clasp. Images courtesy of Aniquorum auctions).

(Figs. 34-36 - Patek ladies very rare, unique and unconventional, concealed dial bracelet watch ref. 3160 J from ‘54. Images courtesy of Monaco Legends auctions).

In summary

Through the many personal, shared and public images I’ve curated for this writing from across various decades, it’s clear to me the level of quality, innovation and collaboration between Ponti Gennari and select manufactures was at the pinnacle of the horological world for design during the era. I attempted to capture some examples and narrative to illustrate the breadth and depth of the firms work during its existence and highlight some historically important pieces they were party to creating.

The Ponti namesake of Ponti Gennari remains to this day in Geneva, engaged in the world of horology with the father and son team of Laurent and Stan selling watches under their own business, Ponti Collection in Geneva.  A special thanks to Stan, for sharing some of the historical information used for this writing.  The history and production contributions of Ponti Gennari remain relevant and very important within the vintage collector community to this day. For those that made it this far, I hope you found the brief review of this iconic brand and their history interesting and informative.

(Fig. 37 - ‘67 First place award in the watchmaking segment of jewelry competition for unique watch handbag design. Image courtesy of Europa Star).

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(Fig. 1 - on the wrist)

Introduction

The Patek reference 565 is one of the icons and often sought references in the collecting pursuit of many vintage Patek enthusiasts.  Even by today’s trends, these examples are very wearable and have a timeless, modernist design consisting of a monobloc case, sharp angles, screw back case with inner dustcover and ribbed winding crowns made by Boninchi. These crowns resemble an umbrella or priest cap. Interestingly, Boninchi was later acquired by Rolex (see some references to examples with Boninchi crowns via John Reardon’s published link Here and enjoy a virtual treasure trove of amazing Patek examples shown).

The production run of the 565 reference was from 1938 to 1952.  It was then succeeded by the reference 2533.  There were first and second series with sub seconds and with indirect and direct seconds movements manufactured during this run.  The 565 was produced in descending order of rarity; Rose gold, Yellow gold and Steel. The present example is currently featured on a Gay Freres stretch rivet bracelet from the period (Figs. 2, 3).

(Figs. 2, 3 - Gay Freres stretch rivet bracelet)

The Dial

Many dial variations were produced during the manufacturing run and among the most coveted is the “Heures Penchees” otherwise known as leaning markers or Breguet dial.  Subject version is extract confirmed as fitted with a Breguet dial.  The steel Breguet markers are rhodium plated and some oxidation is noted on the markers in addition to different parts of the dial, which I personally like to see as a collector interested in eye pleasing signs of honest aging and patina. These markers were also individually cut, polished by hand, then affixed to the dial with a tool to secure them in a less than perfect application process when compared to today’s modern methods.

Honest originality is important to many collectors and often different levels of cleaning or restoration have been performed on these watches over time.  The engraved enamel signature is also known as “indelible” or “tattoo”, given its resilience to abrasive cleaning methods used to remove stains and blemishes from the dial over time.  Although these are resilient by design, on some examples signs of past cleaning or more invasive restoration are often evident upon inspection and noted by weakened aspects of signatures that are no longer bold or are missing altogether, including the comma in a long signature and/or the accent over Geneve.  The more invasive the degree of restoration, the larger the gap in values compared to those having minimal to no restoration. By the mid- ‘40’s, the long signature that was in place and seen on most examples up to the short signature transition is more compressed than its predecessor. (Note: The general transition to short signature occurred around ‘48. Examples are known past this date with long signatures, original from factory into very early ‘51) was stamped into the dial plate with a cliché.  The letters are more tightly arranged and compressed than the earlier long signatures that had more spacing between letters.  On this later long signature, it’s also correct to note a slightly elevated “L” in comparison to the adjacent “I’s”, as that is how the cliché was made that stamped the letters that were then filled with an enamel paste and kiln fired to harden the signature into the dial surface prior to final hand finishing of the dial plate (Fig 4).  This process has been described in detail under the pen of John Goldberger in Auro’s “Patek Philippe Steel Watches” publication and cited reference work of Tortella & Sons as one of the sources among others describing this process.

Present example has been considered as one of the best observed of those currently known steel examples, from the original production consisting of approximately 28 in this dial configuration and 12-120 movement. In steel, 9 were produced with a 12SCi and 8 with a 27SC movement and Breguet dial as noted in Ali Nael’s publication “Patek Philippe - My Dream Collection” and associated reference work contained therein by Tortella & Sons.  I don’t know how many have survived to this day across the different calibers but would guess it’s half or less of these original numbers. Many of the survivor examples have had a fair amount of restoration based on auction and privately offered pieces I’m aware of, including many with radium lume dots and lume dots with lumed pencil hands that are often containing re-lumed material on the dial when they appear to market these days.  To be noted, it seems a majority of the 565 examples fitted with a Breguet dial were destined for the US market at the time and may have reflected a certain appreciation for this dial configuration by this country’s clients.

As always, the small but observable details matter when assessing condition. For instance, note that the snailed ridges in the sub second track are complete, crisply defined and not dulled on this example (Fig. 5), as can occur from a past invasive restoration.  Another sign to inspect is the outer pearled minute track.  To the naked eye these pearls appear as dots on top of the dial, yet when closely inspected are actually concave and drilled into the dial plate (Fig. 6).  When cleaning or restoration work on the dial is performed, these pearls can lose their shape and become oblong, enlarged or develop a halo that results from alterations to the outer borders.  Note the uniform size of the pearls and crisp outer edges with associated signs of aging around the edges.  Toward the top of the dial minute track a small stain is also noted. As mentioned, I personally like to see a few signs of aging on these dials, as they should not appear in an as-new perfect form after decades of time passing.  Marks on dials may be from general aging, past service work/handling and do not always indicate restoration was performed. The key is being able to carefully assess how they appear and if the dial has an overall pleasing presentation.

The degree of honest condition is a key aspect to evaluate and can include: 1. original, untouched and eye pleasing patina from natural aging. 2. lightly surface brushed to remove dust or debris on dial. 3. light soap solution cleaning. 4. chemical washing that has a bleaching effect of sorts in lightening the dial. Additional interventions can include re-zapon application to protect the dial and enamel components from original zapon degradation, abrasive sanding to remove stains or blemishes completely, re-silvering and enamel restoration of signatures or minute tracks. The less invasive the better to preserve original aspects and top value, depending on the condition and eye appeal of patina for most collectors.

The Stern dials made for Patek from this era had their finish brush applied during manufacture.  The thickness of the zapon lacquer protective top layer varied, because this was a hand crafted process. Therefore, some dials may have a thinner top zapon layer than others.  In some angles or light conditions, the appearance of feathery or silky striations may be observed on these dials primarily through the ‘50’s.  In my opinion, this detail of original finish appearance is quite different from the more granular, deeper and coarse lines that are sometimes noted as a key sign of past abrasive sanding of the dial used in the cleaning process. A dry, somewhat matte surface appearance is also a sign of past intensive restoration work.

(Fig. 4 - Engraved, enamel compressed long signature. Note the elevated position of the “L” as mentioned above)

(Fig. 5 - Crisp, snailed sub second ring showing original stamping finish and lack of softening or dulling of the edges and concentric rings often seen from past cleaning on some examples)

(Fig. 6 - Pearled minute track showing signs of oxidation and aging with proper original size and geometry. The 5 min pearls at each hour marker are correctly larger vs those between)

The Case

The case on this example is also extremely well preserved as evidenced by the sharp lines and crisp bezel facet that do not show signs of polishing.  The bevel on the case top is a quick sign to spot past polishing, as it loses the razor-sharp crease from polishing. The original finish on the case back is also still evident (Figs. 7 - 10). These are aspects that make a big difference on values. Unfortunately, many 565 cases have been ruined by over polishing that has thinned and rounded out the lugs and bezel bevel which are key architectural components of these cases.

(Fig. 7 - Note the sharp bezel transition and crisp edges of case)