The 18th Century, the Century of the Great Watchmakers (Part 8)
By Sílvio Pereira
This is the second and final article devoted to the mastery of Jean-Antoine Lépine. He was indeed a great watchmaker who left his mark on the history of watchmaking in many respects: both by creating and developing his own mechanisms and by improving and refining existing ones. He was an icon who influenced many other watchmakers of his time, including the great Abraham Louis Breguet, who, at a certain point in his career, used mechanisms created by Lépine in his own watches, and who was likewise inspired by Lépine when creating the much-talked-about "Breguet hands".
Our journey through 18th-century watchmaking is entering its final stretch: in the next two articles we will look at watchmaking after the French Revolution and try to delve into the complex universe of Abraham Louis Breguet, thus concluding the history of 18th-century watchmaking, considered the century of the Great Watchmakers.
Jean-Antoine Lépine, Paris, c. 1774
Watch made of gilt brass. The movement is fitted with a virgule escapement and has a diameter of 28.7mm. It is also notable for its suspended barrel, in the “Lépine calibre” style. In this particular case, the movement departs from the typical two-plate construction, representing the second type of suspended-bridge “Lépine calibre”. On the underside of the balance cock, the inscription “A” and “R” can be seen, similar to versions made before 1775.
The dial, in enamelled copper, bears the signature “Lépine Invenit et Fecit”. In addition, the movement incorporates a new type of concealed case spring and is designed to take a “cuvette” (dust cover).
This movement is often housed in a case known as a “chambermaid’s vitrine”, a specific type used to display or protect the watch. This style of vitrine was particularly popular among American collectors in the period between the First and Second World Wars. This combination of distinctive technical elements and aesthetic features makes this watch a unique and remarkable piece.
Jean-Antoine Lépine, No. 2076, Paris, 1775
This is a unique watch in gilt brass with a silver case. It features an experimental mechanism with rear winding of the mainspring and a virgule escapement, with an overall diameter of 40.8 mm. The construction follows the layout of Louis Berthoud, with two plates and incorporating a fusée and chain. On the underside of the balance cock, the inscription “A R” can be seen, legible from the base side of the balance cock. This feature is similar to the intermediate versions between 1775 and 1780. The balance cock is pierced in the Lépine style.
The dial, signed “Lépine Invenit et Fecit”, is made of enamelled copper and displays a unique and early combination of Arabic and Roman numerals. Notably, the hour markers are subdivided into 6 parts instead of 5, giving a total of 72 minutes in an hour instead of the traditional 60. The original Lépine brass hands are present.
An unusual feature is the counter-enamel hands, signed “JF Cave de Harley”. This stands out because Lépine usually delegated the production of his dials.
The watch incorporates the new type of concealed case spring and includes a “cuvette” (dust cover) numbered “No. 2076” with engraved instructions, in the style “L'Epine H(orl)ger du Roy”.
This movement has unique experimental features that set it apart in a singular way. A striking example is the presence of "Lépine hands", later known as "Breguet hands" (Breguet made slight modifications, see below). It also stands out as the first watch to adopt a round minute-hand pinion[1] instead of a square one. This feature highlights not only the innovation of rear winding of the mainspring but, above all, the ability to set the hands from the back of the watch, which made the square shape of the minute-hand pinion obsolete.
The dial also stands out, representing Lépine’s first attempt to combine Arabic and Roman numerals, resulting in a predominantly symmetrical appearance. It is important to note that this unique dial, showing the hour subdivided into 72 minutes, may have been a special commission. Although this subdivision has implications in astronomy and astrology, its only known use is in the Jewish calendar. Understanding the details of this unique subdivision requires further research. This innovative approach to dial design highlights Lépine’s curiosity and his search for new ways of representing time.
Lépine hands:
The style of hand, initially wrongly attributed to Breguet, with a very fine tip projecting from a pierced circular disc, was probably developed by Lépine as early as 1775, possibly from “pear”-shaped predecessors (see the watch below, Dieudonné Kinable No. 626). Lépine’s original hands were slender, with a long tip and, most importantly, the opening in the disc was concentric.
Abraham-Louis Breguet would modify this style, making the tip more triangular and shorter and placing the hole eccentrically in the disc, closer to the tip, giving an appearance resembling a “crescent moon”. This style of hand is now known as “Breguet hands”, since they were marketed as such from their introduction by Breguet. They are still widely used by the Breguet firm to this day. This evolution in the design of hands highlights Lépine’s significant contribution to watchmaking and the subsequent popularity of this style associated with Breguet.
Jean-Antoine Lépine, Paris, c. 1780
Gilt brass watch with rear winding; the movement is fitted with a steel cylinder escapement, has a diameter of 46 mm and a suspended-barrel Lépine calibre. Unlike the typical two-plate construction, this movement represents the third type of suspended-barrel Lépine calibre, characterised by a “circular” spring. The letters “A, R” engraved on the "bridge table"[2] of the balance cock are legible from the underside, following the style of the intermediate versions between 1775 and 1780.
Enamelled copper dial in the later English style. The movement incorporates a new variant of the concealed case spring and has a cuvette (dust cover) with the traditional engraved instructions, including “Lépine Invenit et Fecit”.
Jean-Antoine Lépine, Paris, No. 5490, 1788
Lépine watch in gilt brass, with rear winding and “à toc” quarter repeating, fitted with a virgule escapement and a suspended barrel. This movement, unlike the typical two-plate construction, represents the last stage in the development of Lépine movements with a suspended barrel. The barrel has a “circular” rear spring. The gold consular case is worked with an intricate engine-turned pattern, using the technique of guilloché, which consists of crisscrossing linear grooves or patterns, adding an artistic, textured touch to the case. This piece also has enamel and “pearl”-style inserts. The cuvette in gilt brass is engraved with three “fleurs de lys”, as well as instructions for setting the time and winding, signed “Lépine H(orlo)ger du Roy”, numbered 5490, and an “M” whose meaning is unknown.
The rare and very fine gold hands feature “fleur de lys” designs and “arrow” tips, and were used only between 1782 and 1788. The dial is in enamelled copper and signed “Lépine Invenit et Fecit”. The “A, R” is legible on the base of the balance cock, as in the later versions after 1780. The dial also shows an interesting combination of Arabic and Roman numerals, characteristic of some watches made between 1788 and 1790 with production numbers between 5400 and 5700.
Curiosities regarding the numerals of some watches made by Lépine
The first group of watches with these numerals shows an Arabic “11”, while later models (see the image on the left) opt for a Roman “XI”. This peculiar choice in the representation of numerals is explained by Jean-Antoine Lépine’s intense pursuit of symmetry and of an elegant, distinctive aesthetic, culminating in creations regarded as "hyper-sophisticated". This unconventional approach reflects Lépine’s meticulous attention to detail and his relentless search for a unique visual harmony in his watch designs.
It is important to stress that Lépine’s stylistic influence went beyond simple numerical conventions, showing his commitment to creating watches that not only kept time but were also artistic expressions of elegance and balance. This insight into Lépine’s unique stylistic choice is highlighted in the book “Jean-Antoine Lépine Horloger (1720-1814)” by Chapiro A., a work that deepens our understanding of the legacy and genius of this master watchmaker. Moreover, the watch in question has a preserved history, having been part of Jean-Claude Sabrier’s private collection, which adds a touch of distinction to its provenance.
Watch listed in: Chapiro A., Jean-Antoine Lépine horloger (1720-1814), Les Editions de l’Amateur, Paris, 1988. Dial: ex private collection of Jean-Claude Sabrier (F).
Dieudonné Kinable, Paris, No. 626, 1792
Lépine movement in gilt brass, rear winding, with a steel cylinder escapement and suspended barrel. This movement, representing the last stage in the development of the Lépine calibre with this type of barrel, stands out for the absence of the typical two-plate construction. The barrel has a “circular” rear spring, giving it a unique character. The “A, R” is legible on the “table” of the balance cock, visible from the underside, as in the intermediate versions between 1775 and 1780. The consular case is made of plain silver, that is, without ornament.
The cuvette, in gilt brass, is engraved with instructions for setting the time and winding, signed “Kinable au Palais Royal” and numbered 626. The rare and very fine blued-steel hands, with “pearl”-shaped tips[3], are distinctive features used by only a few watchmakers in Paris, including Lépine and Breguet. The enamelled copper dial, signed “D. D. Kinable Palais Royal N. 131”, completes the unique aesthetic of this watch, considered rare and very fine.
Dieudonné Kinable, a watchmaker born in Liège, Belgium, settled in Paris around 1787, where he left a lasting mark in his speciality: clocks with distinctive shapes, whose bodies were skilfully made of “Sèvres porcelain”. This remarkable mastery of the horological art culminated in an order of 21 pieces from the renowned porcelain manufactory between 1795 and 1806.
There are indications that Kinable may have obtained the rough movements for his watches from the same source used by Breguet. Another possibility is that Kinable finished and adjusted the watches in direct collaboration with Breguet, or perhaps with Lépine. The presence of Kinable’s name in Breguet’s Repair Register reinforces the possible collaboration between these illustrious watchmakers.
Later in his career, Kinable chose to sign his works simply “Kinable”, showing his consolidation as a recognised, independent master watchmaker.
This example was part of the private collection of A. Chapiro (F).
Published in:
Chapiro A., Jean-Antoine Lépine, 1720-1814, an “unknown” maker, Antiquarian Horology, September 1975, P: 448, Fig.: 5 Chapiro A., Jean-Antoine Lépine horloger (1720-1814), Les Editions de l’Amateur, Paris, 1988, P: 67, 68, 142 Chapiro A., Taschenuhren aus vier Jahrhunderten, Callwey, Munich, 1995, P: 170-172
Jean-Antoine Lépine & Voltaire, Ferney, No. 6, c. 1770
This gilt brass back plate, measuring 23.3 mm, stands out for the elegant presence of a small two-footed cock masterfully made of steel and brass. The meticulously crafted silver regulator dial further enhances the sophistication of this piece. Every detail, from the choice of material to the precise execution, reflects the quality and care devoted to the creation of this back plate. A harmonious fusion of gilt brass, steel and silver that not only serves a practical purpose but also stands out as a functional work of art. The distinctive signature, “Manuf(actu)re Royale de Ferney”, underlines the origin of this piece.
It is worth noting that this singular movement was one of the first to be made at the “royal premises in Ferney”, identified by the number 6. Despite the exclusivity of these pieces, it is strange to note the absence of credible records of the founding of this manufactory. This gap in the documentation adds a fascinating mystery to the history of this movement, leaving room for speculation and further research into its origin and manufacture (see below).
Voltaire 21.11.1694 – 30.05.1778
François-Marie Arouet, known by the pen name Voltaire, was a prominent French Enlightenment writer, historian and philosopher, widely recognised for his sharp wit and his incisive attacks on the established Catholic Church. His fame was built not only on his literary mastery but also on his firm defence of religious freedom, freedom of expression and the separation of church and state.
Voltaire showed remarkable versatility throughout his career, leaving his mark on almost every literary form, including plays, poems, novels, essays, and historical and scientific works. His vast legacy includes more than 20 000 letters and more than 2 000 books and pamphlets, notably works such as “Candide” (1759) and many others.
Despite strict censorship laws and the severe penalties for breaking them, Voltaire remained an outspoken advocate, using his satirical skills as a polemicist to openly criticise intolerance, religious dogma and the French institutions of the time. His courage and commitment to the ideals of the Enlightenment continue to be celebrated as significant contributions to the defence of reason and freedom.
Manufacture Royale de Ferney
Seeking to escape the intrigues of Paris, Voltaire took refuge in Ferney, near Geneva, where he bought a château. In 1740 Ferney had only 40 inhabitants, but Voltaire, aiming to strengthen the new community, founded a silk stocking factory in 1768, though without much success.
Taking advantage of the political instability in Geneva, which led many watchmakers to leave the region, Voltaire welcomed them to Ferney, offering them financial support to set up. Watchmaking workshops thus flourished and the “Royal Watch manufacture” was born. Although there is no documentary evidence of the founding of the manufactory, by 1773 it already employed 600 craftsmen, a number that grew to 1200 in 1776.
The manufactory’s output was diverse, ranging from simple movements to repeaters, including engraved and enamelled cases in the Geneva style. Voltaire played an active role in distributing Ferney’s production, drawing on his wide network of contacts. He managed to persuade Lépine, who was already “Horloger du Roy”, to set up a workshop in Ferney, which remained in operation until 1792, years after Voltaire’s death in 1778.
Jean-Antoine Lépine, No. 237, Ferney, c. 1780
This magnificent watch displays splendid craftsmanship in gilt brass. It has a wound mainspring and a movement with a virgule escapement, with an impressive diameter of 45.4 mm. It stands out even more for its suspended-barrel Lépine calibre with centre seconds, being the second type with a pierced bridge for the third wheel.
The movement shows a remarkable innovation, abandoning the typical two-plate construction and representing the third type of suspended-barrel “Lépine calibre”, known as the spring barrel with a “circular” spring. This feature stands out as a unique technical and stylistic achievement.
On the “table” of the balance cock it bears the inscription “A, R”, legible and visible from the underside, recalling the intermediate versions between 1775 and 1780. The enamelled copper dial, skilfully signed “L’Epine”, stands out for the subdivision of the minutes into fifths, displaying aesthetic and functional refinement.
It incorporates a new type of concealed case spring[4], a technical feature that improves precision and performance. It also has a cuvette with the usual engraved instructions, including the distinctive mark “Lépine Nº237”, attesting to the authenticity and exclusivity of this piece.
Every meticulously crafted detail of this watch bears witness not only to technical mastery but also to the sophistication and innovation characteristic of Lépine’s work. A true masterpiece that transcends the boundaries of time.
The lavish decoration on the bridges and the mainspring barrel recalls the distinctive Geneva tradition. This artistic and technical detail adds a unique layer of elegance to the watch.
It is important to note that the dust cover does not bear the usual signatures such as “Horloger du Roy” or “Invenit et Fecit”, and the main place of manufacture, “Paris”, is also omitted. These features, together with the surprisingly low production number, strongly suggest an origin in Ferney.
Furthermore, it should be stressed that the centre-seconds complication gained significant prominence after the discovery of John Harrison’s precision watch. In France, this innovation was adopted around 1775, marking a change in the spring of precision watches. These centre-seconds watches were not used as chronographs, but rather as “pseudo-scientific observation watches”[5] by lovers of astronomy.
This may include the presence of a central seconds hand, useful for measuring time intervals accurately.
With its complexity and elegance, this example is not only a testament to technical evolution but also reflects the period’s fascination with precision and astronomy. The absence of the traditional signatures and the distinctive features of the Geneva region embellish this piece, positioning it as a unique and remarkable piece in watchmaking history.
Antoine François, Paris, No. 852, 1775
This distinguished watch, made of gilt brass, stands out for its elegance and remarkable precision. Front winding adds a classic touch to its functionality. The verge fusée movement ensures smooth and reliable running, a testament to the technical mastery embodied in this masterpiece.
The balance-spring regulator, elegantly designed in the style of the Lépine calibres, gives the watch a distinctive precision. The single-footed cock and the small round pillars in the internal structure show meticulous attention to detail.
The back plate, signed “Antoine François a Paris” and bearing “Nº 852”, not only shows authenticity and origin but also adds a touch of prestige to the piece. The enamelled copper dial, signed “François”, with Arabic numerals for hours and minutes and red dots marking the hours, is a visual expression of refinement.
An intriguing touch is the absence of hands, which lends it an aura of mystery. This classic movement, reminiscent of the newly introduced Lépine calibre, keeps to tradition with its two plates and an exceptionally reliable verge escapement.
This piece is not merely functional, but a timeless masterpiece that unites classical aesthetics with technical precision.
Antoine François, a master watchmaker whose art flourished in 1766, remains somewhat enigmatic in history, given the scant records and the scarcity of his watches that have survived. Nevertheless, his importance shines through his close collaboration with Lépine, which left an indelible mark on the world of timekeeping.
One of the rare examples, watch Nº171, has a double virgule escapement and also reveals artistic collaboration in its case made by Xavier Gide. The latter would go on to work with Abraham-Louis Breguet, a legendary figure in the history of watchmaking.
The elegant simplicity of watch Nº171 bears witness not only to Antoine François’s skill but also sheds light on the connections and influences that pervaded the world of watchmaking at the time. In a context where information on François is scarce, every detail preserved in his creations takes on singular importance.
Watch Nº171 thus stands not only as tangible evidence of a master watchmaker’s skill, but also as a bridge to the rich tapestry of connections between the notable craftsmen of the period. A link between François, Lépine and, by extension, the future paths that timekeeping would follow.
André Hessen, born in 1745 in Sweden, died in March 1805 in France.
He settled in Paris and rose to prominence when, in 1775, he became watchmaker to “SAR Monsieur”, which stands for “Son Altesse Royale Monsieur”, translated as “His Royal Highness Monsieur”. This honourable title indicated Hessen’s association with Charles Philippe, Comte d'Artois, brother of Louis XVI, then King of France.
Hessen developed a close collaboration with Lépine, proving to be not only skilled in his craft but also an astute critic of the watchmaking scene.
Initially convinced of the importance of the verge escapement, Hessen later explored new paths by developing watches with experimental escapement mechanisms. His artistic talent was also evident in watches adorned with richly decorated enamelled cases.
In 1785, Hessen published in Paris and London his innovative ideas on watch construction, especially discussing the Lépine calibre. Despite his initial preference for the verge escapement, he showed flexibility by later adopting the virgule escapement, recognising the advantages of these new approaches. In a later chapter of his life, in 1790, Hessen returned to his homeland, Stockholm.
His legacy, interwoven with technical innovation and an admiration for sophisticated aesthetics, stands as a testament to the richness and evolution of watchmaking in his time.
André Hessen, Paris, No. 334, 1775
This exquisite gilt brass watch, front-wound, has a fusée movement and verge escapement, with a diameter of 35.1 mm. The silvered regulator dial, without a hand, stands out for a very delicate "small ear". The two-footed steel cock, decorated with the initials “C P” in honour of Charles Philippe (see below), adds a personal and graceful touch to the piece.
The back plate, skilfully signed “A(nd)ré Hessen A PARIS” and with “Nº 334”, reveals the authenticity and exclusivity of this masterpiece.
Extremely delicate round pillars bear witness to the mastery and precision in the construction of this remarkable piece.
The enamelled copper dial, signed “A(nd)ré Hessén h'(orlo)ger de SAR Monsieur”, confirms its distinguished origin. Arabic numerals marking hours and minutes are complemented by a gold hour hand; unfortunately, the minute hand is conspicuously missing.
The cock, meticulously engraved with Charles Philippe’s initials, indicates that this movement was made to order, probably as a gift to someone in his service. This watch transcends its utilitarian function, emerging as a personalised masterpiece with a unique story and a distinct connection to an illustrious figure.
Charles Philippe, Comte d'Artois, King Charles X 9.10.1757 – 6.11.1836
For most of his life Charles Philippe was known as the Count of Artois, before ascending the throne as King of France and Navarre, becoming Charles X and reigning from 16 September 1824 to 2 August 1830. Uncle of the uncrowned King Louis XVII and younger brother of the reigning kings Louis XVI and Louis XVIII, he supported the latter during exile and eventually succeeded him.
The reign of Charles X, which lasted almost six years, came to an end with the July Revolution of 1830, or the Revolution of the Three Glorious Days, a political uprising that took place in Paris between 27 and 29 July 1830.
On 2 August of that same year, Charles X abdicated in favour of his grandson, the Duke of Bordeaux. However, the population rejected the monarchical solution and opted for a more moderate regime. Louis Philippe, known as the “Citizen King”, was chosen to lead the new government as King of the French.
After abdicating, he went into exile once more. He left France and retired into exile in the United Kingdom. He lived in Edinburgh, Scotland, for a short time before moving to Prague, where he spent most of his last years in exile. He remained in exile until his death in 1836 in the city of Gorizia, which was then part of the Austrian Empire.
He was the last French monarch of the senior branch of the House of Bourbon, descended from King Henry IV.
The Hessen movement, c. 1780
Lépine’s development of the bridge calibre coincided with the growing popularity of larger, thinner watches, a trend that spread slowly in England around 1780. Before that period, larger watches were already in vogue, especially after the publication of John Harrison’s H4. The preference for larger watches was driven by a new fashion statement in which an imposing watch, ideally with centre seconds, became a status symbol. Owning one of these watches not only reflected refined aesthetic taste but also signalled a connection with the latest discoveries in astronomy and geography.
At the time, movements fitted with verge escapements, though known for their robustness, struggled to compete with the technical and aesthetic advances brought by bridge calibres.
André Hessen, even as many watchmakers of the time adopted the new escapements inspired by English fashion, vigorously defended the advantages of the verge escapement, which had been in use for more than 200 years. He emphasised its durability and ease of maintenance, describing the new escapements, largely coming from England, as mere fashion statements without substantial technical merit.
His strategy for staying competitive involved the aesthetic and functional adaptation of the verge movement to the innovative advances introduced by Lépine. His approach involved the train, following Lépine’s line, in which the fusée and the barrel were visible through the main plate. He reduced the back plate to a crescent-shaped “bridge” that supported the fusée and the barrel. In addition, on the dial side, an extra bridge was added to support the escapement and the third wheel. These modifications resulted in a slimmer construction and easier maintenance, allowing individual components to be removed without dismantling the whole movement. The Hessen-verge[6] calibre was conceived as a serious competitor to Lépine’s movements.
Recent evidence reveals that between 1781 and 1783 the workshops of Lépine and André Hessen were only about 100 m apart. In addition, Breguet’s workshop on the Quai de l'Horloge was a short distance of less than 700 m from both of the other workshops at the time. This explains the use of identical calibres in the three workshops and confirms that the three watchmakers knew one another, suggesting interaction and mutual influence between them.
It is not surprising that some Parisian watchmakers and watch dealers, including Abraham-Louis Breguet, adopted this updated version of the verge movement. André Hessen probably tried to promote these movements by offering more affordable prices than Lépine movements. However, the first Hessen-verge calibres were rarely used and very few have survived.
Around 1785, recognising the advantages of the new escapements, Hessen modified his verge movement to incorporate the virgule escapement. He also replaced the two-footed cock with the more elegant single-footed Lépine-style cock, while keeping the Louis XVI-style decoration. This last version of the Hessen movement, with the virgule escapement, was more widely adopted. However, in the long run, even the updated Hessen-verge calibre could not compete with Lépine’s bridge movements, which were thinner, more practical and more precise.
A final version of the Hessen movement represents a partial “reconciliation” with the Lépine system. It keeps the virgule escapement, updates the decoration of the cock to the Lépine style and, in some versions, includes a suspended barrel, as designed by Lépine. These last versions, known as Lépine-Hessen movements, were used between 1787 and 1790.
Other Parisian watchmakers, including Breguet, also adopted this calibre, as shown by number 135, sold in 1792. Notably, this watch was not made in the Breguet workshops but is a retailed piece, possibly bought directly from Hessen. This is suggested by the absence of a signature on the original dial. Moreover, the design of the case, with applied pearls and translucent enamelling over a guilloché-decorated surface, does not match the usual style of Breguet watches of the period. The sale of this watch is documented in the records; otherwise, it could be considered a possible contemporary forgery.
André Hessen for Daniel Vaucher, Paris, c. 1775
Gilt brass watch, front-wound and driven by the Hessen-verge movement, with a 47.3 mm dial plate and a depth of 11.4 mm including the central arbor; it stands out for its elegant fusion of classical elements and innovations. It has a very small two-footed steel cock.
Representing the initial version of André Hessen’s adaptation of Lépine’s innovative principles to verge escapements, the movement shows the barrel and the fusée through the “back plate”, supported by a half-moon-shaped plate. The train is elegantly covered. The engraved signature “Vaucher à Paris” attests to the movement’s provenance, while the enamelled copper dial bears the distinctive signature “L'Epine à Paris”.
Daniel Vaucher, a member of a prominent dynasty of watchmakers from Fleurier, Switzerland, later moved to Paris, where he changed his name to “Vauchez”. Recognised as a prominent dealer, he specialised in supplying some of the finest watches produced by Lépine. When signing his watches (many of which were made in Lépine’s workshop, like the example above), he used different variations such as “Vaucher à Paris”, “Vauchez à Paris” and later “Vauchez en la Cité”.
The presence of Lépine’s signature on the dials may be explained by the fact that Vaucher was a dealer in watches made by Lépine. For contractual reasons, it is plausible that the final finishing of the movements was carried out in Lépine’s workshop rather than in Hessen’s.
It is interesting to note that Vaucher’s shop was located a few hundred metres from the workshops of Hessen, Lépine and Breguet. This geographical proximity suggests frequent interaction between these master watchmakers, possibly influencing one another and sharing innovations in the fascinating watchmaking scene of the time.
As mentioned above, Breguet also adopted this earlier version of the Hessen movement. The use of this movement is in line with Breguet’s experimental nature, as he constantly sought new systems to adopt, modify and improve.
An early movement and a watch from the workshop of Abraham-Louis Breguet have survived, specifically number 242 of the second series, both showing exactly the same movement construction as described above.
The later watch, identified as number 242 of the second series, has a restored enamelled copper dial, with the production number indicating 1792/3. However, the movement of this watch was in fact built around 1780. It is plausible to suggest that Breguet acquired this pre-made movement directly from Hessen and sold it under his own name. A viable alternative is that this movement had been part of the stock of Xavier Gide, Breguet’s partner until 1791.
The Breguet workshop register records the loss of this watch on 23 October 1810. Surprisingly, it reappeared and was later auctioned at Chayette on 24 November 1980, as lot 131. Chayette is the name of a French auction house founded in 1965 by Jean Chayette. (liquidated in 2023).
This episode adds an intriguing element of mystery to the history of this watch.
André Hessen for J. Cardinaux, Paris, No. 743, 1780
This magnificent front-wound gilt brass watch houses a Hessen-verge movement and is set in a later case in gilded silver, or “vermeil”[7], with an overall diameter of 58 mm. The impressive details of the case include bezels richly engraved with intricate scrolls and foliage, giving it an elegant, luxurious look.
The very small two-footed cock bears the maker’s initials “J C” and has an additional steel cock. The blued steel screws, marked with dots, are a feature traditionally associated with high-quality pieces. This movement represents an intermediate stage in André Hessen’s adaptation of Lépine’s innovative principles to verge movements.
The barrel and the fusée are visible through the “back plate”, supported by a 3/4 disc-shaped plate. This cover is fixed to the “back plate” with screws. The train is covered, showing precision in the design. The movement, distinctly signed “Cardinaux à Paris”, bears the number Nº 743.
The dial, made of enamelled copper and adorned with Arabic numerals, is signed “Cardinaux”. However, there is a peculiarity in the “Breguet” hands, as the hour hand has a flat style characteristic of the early types.
André Hessen for Alexandre Patry & Louis-François-Guillaume Chaudoir, Geneva, 1785
Silver watch with a gilt brass consular case and front winding, with a semi-full-plate Hessen-verge movement, 53.8 mm in diameter. The single cock, keeping the pierced design of earlier versions, has a curved foot, resembling the style of the “suspended-barrel Lépine calibre”. The train is completely covered.
A notable feature is the opening for the arm of the balance-spring tension regulator, passing through the back plate, a feature later adopted by Abraham-Louis Breguet. The movement is signed “Al(exan)dre Patry & Chaudoir”. The enamelled copper dial, although unsigned, adds a touch of elegance to this unique piece.
The star-shaped design on the barrel cover is a distinctive feature of the later pieces produced by André Hessen. On the other hand, the wavy decoration on the edges of the barrel cover and on the foot of the cock reflects the influence of work done in Geneva.
The new use of the Lépine-style cock should be stressed, now with a single foot, keeping the sophisticated Louis XVI-style decoration. This fusion of stylistic elements gives the piece a remarkable singularity.
This movement represents the most advanced version of André Hessen’s adaptation of Lépine’s new principles, notably incorporating a verge escapement. This refined variant of the escapement became widely adopted by various watchmakers, surpassing the more “primitive” version presented earlier. Its popularity extended not only to the watchmakers of Paris, but it remained in greater use in Geneva. This preference may be attributed to the production of more refined movements in Geneva or Ferney.
Among the watchmakers who adopted this type of movement were prestigious houses such as “Le Blond l'ainé à Paris”, “Rouvière à Paris”, “Duchène et Comp” and “Moré & Dupont à Geneva”. The spread of these technical advances highlights André Hessen’s significant influence on the development and acceptance of innovations in watchmaking at the time.
Alexandre Patry 23.11.1758 – 21.12.1822; François-Guillaume Chaudoir 1770 – X
Alexandre Patry, from a respected line of goldsmiths in Geneva, attained the status of master around 1780. Between 1791 and 1796 he formed a partnership with Louis-François-Guillaume (Hubert) Chaudoir, born in Berlin. During this period, their creations were signed “Al(exan)dre Patry & Chaudoir” or simply “Patry & Chaudoir”. After 1798 he began a new collaboration with Pierre Chenevière (1766-1849), giving rise to a production identified as “Patry & Chenevière”.
In the records of the city of Geneva there is a mention of the firm “Patry Oncle & Neveu”, in which Alexandre was associated with his uncle of the same name, both called Alexandre. The similarity of names sometimes causes confusion in attributing pieces to one Patry or the other. This complexity adds a fascinating historical aspect to the story of these talented craftsmen.
Notes
[1] It is a part used in mechanical watches to transmit motion from the mechanism to the minute hand. The pinion is a small toothed gear that fits on the central arbor of the watch. It receives energy from the watch’s main train and transmits it to the minute hand. The description “round” refers to the shape of the pinion, which has a cylindrical or rounded profile.
[2] The expression "on the bridge table" refers to the flat surface or upper area of the bridge in a watch mechanism. The bridge is a metal part that covers and supports various parts of the watch movement, such as the balance, wheels and other gears. In watchmaking, the bridge table is the part of the bridge where inscriptions or marks can be engraved, or where information such as the serial number or specific abbreviations can be visible.
[3] It is important to note that the specific description of hands with "pearl" tips may vary between different watches and production periods of these watchmakers. It is advisable to check additional sources or specific catalogues for accurate information on the types of hands used by Lépine and Breguet in different models and periods.
[4] A concealed case spring is a type of mainspring designed to be hidden inside the watch movement. This means that the spring is not visible through the dial or the caseback.
There are several advantages to using a concealed case spring:
Aesthetics: it can improve the look of the watch, as there are no visible components to distract from the design of the dial or case.
Protection: it is protected against damage caused by dust, moisture and other external elements.
Efficiency: it can be more efficient than a traditional case spring, as there is less energy loss due to friction.
New types of concealed case springs:
In recent years several new types of concealed case springs have been developed. These new designs offer several advantages over traditional case springs, including:
Greater energy storage capacity: they can store more energy than traditional case springs, which means the watch can run longer without needing to be wound.
Greater precision: they can provide better precision than traditional case springs, as they are less prone to deform over time.
Greater durability: they are more durable than traditional case springs, which means they are less prone to break or wear.
The development of new types of concealed case springs is an important area of research and development in watchmaking. The new concealed case springs offer several advantages over traditional case springs, and they are helping to improve the performance, reliability and aesthetics of mechanical watches.
[5] The expression "pseudo-scientific observation watches" may imply that these watches were not necessarily built for the sole purpose of being precise scientific instruments, but shared characteristics that made them useful for astronomical observations.
[6] "Hessen-verge" is a term used to describe the type of escapement used in some of the pocket watches made by André Hessen. The escapement is a crucial component of any mechanical watch, as it is responsible for controlling the speed of the movement.
The verge, or crown-wheel, escapement is an old type of escapement that was commonly used in pocket watches in the 17th and 18th centuries. The crown-wheel escapement is characterised by a thin V-shaped staff that oscillates from side to side. This oscillation regulates the flow of energy in the watch, thereby controlling the speed of the movement.
Although the crown-wheel escapement is an old design, it is still used in some modern pocket watches. This is because the crown-wheel escapement is relatively simple to manufacture and can be adjusted precisely.
André Hessen used the crown-wheel escapement in some of his pocket watches. The term "Hessen-verge" is used to distinguish these watches from others that use different types of escapements.
[7] “Vermeil” is a term used to describe a piece of silver that has been plated with gold. This layer of gold over the silver can be quite thin, usually with a minimum thickness of 2.5 micrometres.
The word “Vermeil” comes from the Old French “vermeil”, meaning “red”, and originally referred to the reddish tone that appears when gold is applied to a silver surface. The term “vermeil” is especially common in jewellery and goldsmithing, where gold-plated silver pieces are popular for their luxurious appearance without the full cost of a piece made entirely of solid gold.
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