Dome clocks are one of the “secret specialties” of Patek Philippe. Enormously popular among collectors in virtue of the incredible technical and artistic skills needed for their execution, consequent enormous rarity - with all vintage pieces either unique or part of single digits productions - and overall incredible looks, they are nonetheless one of the least known and studied lines of Patek Philippe timepieces.
The present very important, incredibly well preserved and supremely attractive 1970 example enamelled by L. Chappaz last came to auction in 2006, and appears to be one of only two known featuring the "Lady and Unicorn" theme. Given its importance, it offers excellent motivation to dwell a little deeper into the fascinating subject of Patek Philippe dome clocks.
Patek Philippe is one of a handful of companies - and arguably the one with the most sought-after production - which make dome clocks. Shaped as a domed cylinder usually about 22cm in heigh (even though “mini” versions have been launched in recent times), cloisonné versions require an enormous amount of enamelling, many times greater then what seen in wristwatches. For comparison, a 2481 enamel disc is about 850 sqmm, while that total enamelled area of a solar dome clock is about 47’000 sqmm.
They made their first appearances in the 1950s, and at the time they were at the utmost forefront of technology: this is a solar powered clock introduced more than a decade before the first appearance of quartz wristwatches. In fact, Patek Philippe had been experimenting with electronic timekeeping since the 1940s - and produced some industrial hight precision measuring instrument in the process - but this was the first time an electronic product was offered to the general public. Similarly to what happened with the luxurious gold cases found on Beta21 pieces, Patek Philippe had to justify the high cost of the item, and thus adorned most of these dome clocks in the most exclusive way they had available: cloisonné enamel.
EVOLUTION
Given the great amount of different case variations, there is a very great number dome clocks references. However, it is possible to define some series for the production
- FIRST SERIES. Identified usually by ref. no. 7xx, it was in production until the early 1970s and is defined by a round photovoltaic cell with which “crosshair” inserts, such as the present piece
- SECOND SERIES. Identified by ref. no. 11xx, it was in production from the 1970s to the 1980s. It is defined by the presence of two vertically aligned columns of photovoltaic cells.
- THIRD SERIES. Starting from 1300, it features a single horizontal line of photovoltaic cells - which also appears to be the component used by Patek Philippe to replace non-functional cells.
- FOURTH SERIES. Appearing in the 2000s, it is defined by a circle photovoltaic cell.
It is needless to say that finding a First Series dome clock with its original crosshair cell is very difficult, given the the component is often exchanged for a service (third series) cell during service.
ARTISTRY
As it often happens with Patek Philippe, this pinnacle of watchmaking technology was coupled with the pinnacle of decorating artistry and skills: cloisonné enamel. Some of the the most skilled enamelers of all times working on PP dome clock, at time even signing their creations. Such is the case in this remarkable instance: the panel to the left of the dial unmistakably bears the L. Chappaz signature close to its lower border.
Luce Chappaz executed some incredible works of art for Patek Philippe mostly during the 1960s. Some of her most remarkable works, beyond the present piece, are a 1969 dome clock representing sailboats on a lake, a 1970 pocket watch (residing in the PP Museum) with miniature enamel representing a bridge over the river Vieze, and a 1978 dome clock representing a view of the Geneva harbor.
The skills, craftamship and artistry of Mme. Chappaz have granted her a place alongside the most appreciated enamelers of the past century such as Suzanne Rorh, Marguerite Koch and Carlo Poluzzi.
Not only Patek Philippe chose the unchallenged masters of the field to execute these enamels, but they also wanted their designs to be as impressive and artistic as possible. The results were sometimes completely abstract, sometimes scenes inspired by historical events, at times there were vistas or panoramas, and finally there are instances when the inspiration is drawn from works of art, such as in the present example.
The motif “La dame à la licorne” is inspired by a cycle of 15th century tapestries considered a masterpiece of French renaissance and counted among the most important tapestries extant inn the world. Comprised by 6 works, the recurring theme is the presence of a lady surrounded by animals (a lion and unicorn are present in all six works, many other animals make “single-episode” appearances) in a sort of idyllic flowered garden. Five pieces are dedicated to the five senses (the lady touches the unicorn horn, smells the flowers, eats a candy, plays music, holds a mirror for the unicorn) with the 6th tapestry - informally dubbed “The Sixth Sense” - being more obscure in meaning. It shows the lady putting in a box the necklace she has been wearing in the previous five works, and the inscription “A mon seul désir” (to my only wish). It is speculated to represent intellectual illumination or love, but there is much debate on the subject.
Patek Philippe reinterprets this cycle by incorporating pieces of different tapestries in the final work. the main central panel is reprised from “The Sixth Sense”; on a side panel, the lady with a bird perched on her fingers is taken from the “Taste” tapestry, and on the other panel the lady touching the unicorn’s horn comes as mentioned from the “Touch” tapestry. On the dome, the caped lion and unicorn are virtually identical to what found in the “Taste” tapestry.
A fully original First Series dome clock combining the hand - and the signature! - of one of the most important enamelers of all times with the revisitation of one of the most important works of the French Renaissance, and offered in exceptional condition, is an absolutely unmissable opportunity, and without a doubt one that is destined to become ever more scarcer given the ever increasing refinement and knowledge of the collectors’ community.