In the world of Patek Philippe collecting you rarely find something truly unique... Not a combination of dial color, hour marker and case material but a genuine unmistakable one-of-a-kind design. Yet, these pieces do exist! And one of them was sold almost exactly one year ago at Christie's Geneva and went pretty much unnoticed. This is the story of the original Jean-Pierre Ecoffey chronograph for Patek Philippe.
November 15, 2024
Genuinely Unique! The Story of the Jean-Pierre Ecoffey Chronograph Prototype for Patek Philippe
Marcus Siems @siemswatches
Collector, Author, Data Analyst
In the world of Patek Philippe collecting you rarely find something truly unique... Not a combination of dial color, hour marker and case material but a genuine unmistakable one-of-a-kind design. Yet, these pieces do exist! And one of them was sold almost exactly one year ago at Christie's Geneva and went pretty much unnoticed. This is the story of the original Jean-Pierre Ecoffey chronograph for Patek Philippe.
The Jean-Pierre Ecoffey (JPE) chronograph prototype for Patek Philippe. Photo Courtesy of Bernardini Milano.
1) The Auction
I actually vividly remember browsing through the Christie's catalogue last year - it was the 'Rare Watches' auction in Geneva set for November 6th 2023. The auction was headlined by a set of gemset Patek Philippe 5271s, a unique Dufour Simplicity, probably the most expensive Ellipse at auction, and a couple stone-dial Rolex Day-Dates.
But hidden within the list, towards the end of all 137 lots at position 132 I came across something I hadn't seen before. At first glance it might have been mistaken for a Patek Philippe ref. 5070. But looking twice you notice the dial is clearly off, rather a vintage look you'd find in 1950s or 1960s Patek chronographs and not the neo-vintage era. And on the third look you then come to realize that further the bezel, the lugs, even the movement are different. So what is this!?
Similar at first - case dimensions, inward set sub-dials and markers, outer Tachymeter, broad bezel, rectangular - but the JPE (left) is markedly different in dial style, lugs, bezel and pusher setting (movement). Photos Courtesy of Christie's.
The Christie's auction listing reads:
Entirely fresh to the market, this fascinating, highly attractive and large one-of-a-kind white gold chronograph is a remarkable and important discovery. Worn by J.P. Ecoffey as his personal watch, it is thought to have been custom-cased by him around 1963 as a prototype design for a model that was ultimately unrealized.
Okay, now I was hooked. Not only wasn't and is this not a rarely seen watch. It is a master artisans personal watch... A legend of fine 20th Century bracelet- and case-making, Jean-Pierre Ecoffey realized a special and unique design... and presented it to Patek Philippe to consider it for serial production!
Commissioned by his daughter we also know that it is the watch he liked to wear. And apparently a lot, signs of wear on the case, the movement (from service) and the dial (service as well) showcase that this was more than just 'a project'. So I thought the humble estimate - at 30,000CHF - should be crushed. A lot of historical significance, the kind of 'Picasso draws a painting for his own living room' type of masterpiece.
The letter from JPE's daughter Marie-Louise Ecoffey consigning the watch. It reads: "I, the undersigned, Marie-Louise Chatty Ecoffey, daughter of Jean-Pierre and Marie-Louise Ecoffey, hereby certify that the [...] prototype Patek Philippe chronograph [...] have well belonged to my parents. All my childhood and well after I saw them on their wrists." Source Christie's Geneva, Tortella & Sons, & Bernardini Milano.
However, only one bid was made and the watch sold for the minimum. An anticlimactic end to a watch I was so excited about. It wouldn't make headlines but end as a mere footnote - if at all - in the watch media. And I thought I wouldn't see it ever again and not hear a word.
Well, gladly I was wrong! I first saw it reappear in Andrea @IamCasa Instagram story in September this year attributing the piece to Max Bernardini. Oh fortune meant it well with me, as I was myself heading to Milano for vacation just two weeks later. I had to get in touch and see the piece with my own eyes. I had to... and my excitement grew again!
Quite the looker on the wrist - of Max Bernardini - as well. Photo Courtesy of Bernardini Milano.
2) The Master
But before we get into the watch itself, let's first introduce the master himself: Jean-Pierre Ecoffey and his Genevan workshop. I don't want to get into too much detail - because I could easily spent a couple thousand words on his opus in 1970s/80s precious metal bracelets alone. But to keep it simple JPE was one of the, if not The One, leading bracelet maker of the last Century (compare [Collectability], [PlusUltra]). The style, patterns and execution of the JPE manufacture were matched by only very few:
Figure 1. The 'Master of Mesh' ([patent]). Comparing various Jean-Pierre Ecoffey bracelets for Audemars Piguet, Universal Geneve, and Patek Philippe from the 1970s. Photos Goldammer Archives.
And besides the already impressive portfolio of bracelets, the manufacture is also known as one of the first stops in the horological vita of a certain Jean-Pierre Hagmann. Hagmann - a legend himself by now whose initials 'JHP' are sought after by collectors of the finest minute repeaters and modern Independents - started his career in 1970 with JPE before he opened his own workshop in 1983 (see [Christie's]). One can only imagine what a creative and illustrious workplace it must have been.
3) The Case
The metallurgic artist, formally known as Jean-Pierre Ecoffey, started his career in bracelets but surely didn't want to stop there: In March 1971 JPE acquired the long established Genevan case-maker 'Georges Croisier' (hallmark key #5). The Croisier workshop themselves had quite a history going already a 100 years back to its establishment in 1870 (see [Collectability]) and made a name in modern collector circles as the prime maker of steel Patek Philippe cases as for the Perpetual Calendar Chronograph ref. 1518, Perpetual Calendar ref. 1526 and the ref. 130 (see [Collectability]).
Figure 2. Case study of the JPE chronograph for Patek Philippe. Photos Courtesy of Bernardino Milano.
The case of the JPE x Patek Philippe prototype however is not made from steel but white gold. And according to the auction listing and the assessment by Tortella & Sons this unique piece measures 40mm in diameter, 43mm in length, with a 20mm lug width and weighs in at 67 grams. All in all, very large for a chronograph watch at the time.
The oversized two-piece case sports a slim domed step on the broad bezel. The lugs are short, soldered to the case and slightly downward angled. The pushers are rectangular and display dissociable distances to the crown at 3o'clock - a common feature for Valjoux-based chronograph movements (Patek Philippe Cal. 13-300). The surfaces generally show a brushed finishing in various directions. Overall, a very anachronistic look that is further underlined by its backside...
Figure 3. Study of the JPE prototype case back with 8 white golden screws (right) and movement (left; Patek Philippe Cal. 13-300, Valjoux ebauche, No. 869'136). Photos Courtesy of Tortella & Sons, and Bernardini Milano.
With the eight white golden screws and the extra back-facing protection for the crown this chronograph doesn't exactly look like anything you've seen from Patek Philippe before. It probably resembles more the Cartier Santos Carree case-backs launched in 1978. It speaks a language of modernism... I'd go as far as saying it is one of the most space-age chronograph cases. It is a compressed rocket. When you squint your eyes you could also very well identify a 1970s Genta design of a 19th Century aquanaut helmet turned watch. It is otherworldly and not only unique because it is one-of-a-kind but because it defies the rules of traditional case making.
4) The Dial
The dial is very likely one envisioned for a ref. 1463 'Tasti Tondi': the last Patek Philippe chronograph reference to seize production in 1968 until the brand would relaunch this complication into their catalogue thirty years later in 1998. It is a two-register, engraved enamel dial on silvered base provided by Stern Freres. The baton hands are yellow gold with blued chronograph hands. It further comes with yellow golden hour markers and 6-12 Arabic numerals.
Figure 4. A collection of 32 Patek Philippe chronograph dials from the 1960s ordered by movement numbers (movement No. 868'974 to 869'236). Data Courtesy of EveryWatch. Photos from Phillips, Christie's, Sotheby's, Koller, & Antiquorum as well as Bernardini Milano.
The dial by itself is quite unique for several reasons. First of all, Patek Philippe hands and markers are typically not contrasting the case material. Here, it is yellow gold against white gold. Another factor is that the combination of 6-12 Arabic numerals with long stick markers is very scarce. And lastly, the Tortella & Sons report further mentions that the combination between Arabic numerals and straight baton hands (and not leaf hands) was very uncommon for Patek Philippe, at least before the mid-1960s.
Figure 5. Comparing two similar ref. 1463 chronograph dials to the prototype - a steel example from the late 1950s/early 1960s (left) and a yellow gold example from the late 1960s (right). Photos Courtesy of Sotheby's, Christie's, & Bernardini Milano.
These two examples showcase similar dial iterations and can potentially help us with another mystery about this piece... Because one central information about the prototype I haven't mentioned until now.
5) The Year of Conception & Production
Full disclosure upfront - I won't give you an exact year of production... there's still some aspect of uncertainty. But let's start at square one - 1963.
1963 is the year that's given to us by the Christie's auction listing and it's based on the movement number. Each watch ever made by Patek Philippe can be identified through their unique movement and case numbers. When we compare the movement number - 869'136 - with the Patek Philippe archives we arrive at 1963 - tada. A case number does not exist for this prototype - most likely because it was a prototype and not a standard production model.
Figure 6. Movement number (left) and the case-back inside (right) with all hallmarks including the 'Helvetia's' head ((3) for 18k gold) and the case-maker hallmark 'Geneva key #5' for the manufacture Georges Croisier/J.P. Ecoffey. Photos Courtesy of Tortilla & Sons.
However, I have reason to believe that this is not the entire story. Based on two additional pieces of evidence I believe that the prototype is actually of later date, most likely made during the early 1970s.
First, let's come back to the dial. The 869'136 prototype dial is similar to only very few other examples... on the one end the 869'016 (early 1960s) and on the other to the 869'195 (late 1960s). But taking a closer look we can find the strongest similarities to the later dial execution. Zooming in we can find that the former dissociates in closed minute- and seconds-tracks, so-called rail-road tracks, the font of the '7' and the layout of the Tachymeter scale (no 65 at 11o'clock).
Figure 7. Comparing the details of three different Patek Philippe chronograph dials - a steel example from the late 1950s/early 1960s (left), a yellow gold example from the late 1960s (right) and the JPE prototype (middle). Photos Courtesy of Sotheby's, Christie's, & Bernardini Milano.
The later dial execution of the 869'195 on the other hand is a perfect match - Tachymeter, sub-dials, hand-style, open minute/seconds tracks. Moreover, other dials from later Tasti Tondi pieces (869'161+) overlap well with this style as well - sans the long stick markers. I would thus argue that the dial of our prototype is of later production batch post-1963 pointing towards the late 1960s.
Second, the Croisier/JPE takeover. The auction listing dates JPE's takeover of the Georges Croisier workshop as early as the 1950s. It is important because only after the takeover the manufacture JPE would be allowed to use the original Croisier makers mark - the Geneva key #5 - inside their own cases. And as we could see from the prototype case-back inside it was stamped as such (Figure 6). Ergo, the prototype chronologically follows the takeover.
If only you could talk and resolve all your mysteries... Photo Courtesy of Bernardini Milano.
And here comes the catch: According to the Central Bureau for Precious Metals in Bern the makers mark 'key #5' was only registered to the company and name JPE (JPE SA, Boxes Department) on March 7th of 1971 (see [Hallmarks])! Moreover, just the year prior in 1970 the name was also changed from 'Croisier, Georges, succ. de Lacreuze et Cie.' to 'Croisier, Georges SA, former house of Lacreuze & Cie' thus re-establishing the Croisier name. And between 1934 - the introduction of the hallmark system - and 1970 the name was always Croisier.
Further, looking into historical address and phone books we can find that the manufacture JPE is listed under 'Jewelry & Goldsmithing' first mentioned in 1948 (Rue de la Confederation 4, Geneva; compare [WatchLibrary]). In 1952 they were moving 200m to the Tour de Boel 6 and further to Quai du Seujet 18 to the other Rhone bank in 1960 until the mid 1970s. All in the vicinity of the famous Rue du Rhone watchmaking hub area and all the time listed as jeweler/goldsmith and not case maker.
Georges Croisier on the hand was listed in Rue de la Coulouvreniere as watch case maker all through the 1950s and 60s until their entry was vacated after 1971 (compare [WatchLibrary]).
All this evidence leaves me with one conclusion: Jean-Pierre Ecoffey was taking over the business of Georges Croisier in 1971 and the prototype handmade by JPE could not have been marked with the key #5 - and thus made - before 1971!
Addresses of Jean-Pierre Ecoffey and case maker Georges Croisier between 1948-71 in Geneva. Modern Google Map.
6) Why Does the Year Matter?
That's a good question, why would it make a difference whether it's an early 1960s or 1970s design? The important year is 1968 because it marks the time Patek Philippe seized their chronograph production until 1998**. Having this piece coming from these gap years does indeed increase its sentimental value. Think about it, the JPE masterpiece would become an impossible watch, a watch that wasn't supposed to be. A chronograph from an era without Patek Philippe chronographs. Which brings us to the last important question...
7) Was the Prototype a 'Patek Philippe'?
I think from all what we've discussed so far we can agree that Jean-Pierre Ecoffey's 1-of-1 is a masterpiece, a genuinely unique design, and a blueprint for innovation. And if we consider the ref. 5070 introduced in 1998 it was likely over a quarter Century ahead of its time*! But with all the historical importance and intrinsic value this piece offered - why didn't it catch more than the minimum when it was sold last year (aka 30,000 CHF plus premium)? Which, by the way, is only a fraction of what a 'standard' 5070 would fetch in today's market... not to mention a period matching ref. 1463!
What have we missed? What makes this unique piece fall short of prices from compatible Patek Philippe chronographs? Photo Courtesy of Bernardini Milano.
I guess the answer is likely more philosophical or psychological than factual. Because what could be a shortcoming of the JPE prototype if not the lack of 'official Patek Philippe production'? Let's be overly pessimistic for a second and consider this piece a marriage... an original Patek Philippe dial and movement encased in a 'homemade' white golden case. Because customization kills the value...
But this is missing key details of not only this watch but the entire watch industry structure of the last Century. First, basically all cases before 1970s were made by third-party suppliers for the entire Swiss watch industry. Second, it wasn't unusual for case makers to contact brands with new design ideas. And third, and most importantly, it's not a random homemade case! It is the work of one of the leading artisans of the 1970s and 80s! It is the proverbial Picasso painting hanging in the artists own living room. My estimated earliest possible production of the piece even puts it in the era of Jean-Pierre Hagmann working at JPE. It is literally as legendary as 20th Century case making can get.
Another prototype... this time a dial for a ref. 16520 Rolex Daytona. But to buy this one you'd have to add a considerable premium over comparable examples... Photo Courtesy of Phillips.
Do we thus here have an excessive case of seeking originality? Actually, I think the JPE prototype can be considered more art than classic watchmaking. It is not just unique but also different. Thus, is Jean-Pierre Ecoffey's personal watch riding the razor's edge between original design and original watch and fell off the wrong side? But then we'd have to discuss another phenomenon: Why should we pay a premium for a prototype dial in a Rolex Daytona? Where should we draw the line?
I'm sorry that I'm leaving you with this many questions but I feel this particular piece - transcending its metal canvas - also touches upon core issues within our modern collector's community. How do we define value, both intrinsic and monetary.
There is no right or wrong... Just a beautiful one-of-a-kind chronograph I happily call a masterpiece of a watch born from the collaboration between one of the greatest artisans and one of the greatest watchmakers of the last Century. And that's all that matters - because as far as I know this isn't coming up for sale anytime soon.
The last impression belongs to the star of the show: The Jean-Pierre Ecoffey (JPE) chronograph prototype made for Patek Philippe. Photo Courtesy of Bernardini Milano.
"[... This F]ascinating, highly attractive and large one-of-a-kind white gold chronograph is a remarkable and important discovery. Worn by J.P. Ecoffey as his personal watch, it is thought to have been custom-cased by him [...] as a prototype design for a model that was ultimately unrealized." - Christie's Auction Catalogue Excerpt. And (for what it matters) I fully agree and I'm still excited about it...
Acknowledgements
I feel privileged to have been able to write this story and more importantly experience something I value as highly as probably any seven-figure watch that auctioned over the last years. The value of this experience transcends money. I'm deeply grateful for the trust and the open arms that welcomed me into the Milano boutique this October. For all of this I can't thank Max Bernardini (@maxbda) enough!
This article also wouldn't have happened without the help from Greta and the entire Team at Bernardini Milano (@bernardinimilano) who helped fact-checking and really brought this story to life through visual impressions - both artistic and technical.
Importantly, Giovanni Prigigallo (@prigi35) and EveryWatch provided the information on the surfaced Patek Philippe ref. 1463 from the 1960s, which helped date and added important context to the JPE.
Further, I would like to thank Luca Mignini (@UniversalPeopleUniversalDreams) and John Reardon (@JohnReardon570) founder of Collectability (@CollectabilityLLC) for their valuable insights. Importantly, the report provided by Eric Tortella & Sons further fast-tracked the research on this piece - thank you!
Footnotes
* The JPE design itself somewhat in line with the 'official' origin of the ref. 5070 - the 46mm oversized ref. 2512 Split Second Chronograph from 1950 ([Christie's])
** Patek Philippe did produce chronographs also between 1968 and 1998 but always in combination with other complications, particularly calendars.
- I might also have to say that I wasn't paid to write this article and there are no affiliations to mention - I have to repeat myself this masterpiece is about passion and not profit.
All rights on text and graphics reserved to the Author.
