Roger Dubuis Sympathie Chronograph Perpetual Calendar Biretrograde - of independence, creativity, and uncompromising watchmaking

When Roger Dubuis launched his eponymous brand in 1995, the Sympathie collection was more than just a debut – it was a declaration. At a time when most independent brands sought safety in round cases and familiar complications, Mr. Dubuis chose to express his philosophy through a boldly shaped case, unconventional displays, and a movement finished to standards rarely seen outside the highest echelon of traditional Geneva watchmaking. Among these early creations, the Sympathie Chronograph Perpetual Calendar Biretrograde stands as one of the most intellectually and mechanically ambitious expressions of his vision.

Roger Dubuis – The Man

Roger Dubuis's passion for watchmaking began when he was captivated by the church clock tower mechanism in his village of Corsier-sur-Vevey (less than an hour from Geneva Airport). At age 15, he enrolled at the École des Arts et Métiers in Geneva and was assigned student number 208 – a number that would become deeply symbolic throughout his life and his works.

Here's a remarkable little-known fact: Mr. Dubuis's diploma watch, powered by the Calibre 208 (named after his student number), was awarded the prestigious Poinçon de Genève (Geneva Seal) – an extraordinary achievement for a student. He proudly engraved this number 208 on his tools throughout his career, and the lucky "8" from this number later determined the brand's limited edition quantities of 28 pieces. And now you know...

After starting at Longines in the late 1950s, Mr. Dubuis spent 14 years at Patek Philippe working in the complications department. He wasn't just a watchmaker; he was a master restorer of antique clocks and pocket watches. But beyond his official duties, Mr. Dubuis dedicated countless hours to restoring antique timepieces for elite clientele, including private collectors, the Musée de l'Horlogerie, and Osvaldo Patrizzi, the pioneer who first introduced watches at auction.

A Cafe Encounter That Changed Watchmaking History

Before founding his brand, Dubuis and Wiederrecht developed a retrograde perpetual calendar module for New York jeweller Harry Winston, finishing it in time for the launch at Baselworld 1989. It was the world's first double retrograde perpetual calendar in a wristwatch – a complication that even Patek Philippe had never put on the wrist. This became the signature complication of his eponymous brand.

The formation of the Roger Dubuis company has an intriguing origin story from Jean-Marc Wiederrecht, founder of complications specialist Agenhor. In the late 1980s, Wiederrecht and Dubuis would sit at a Geneva café to discuss their work on the retrograde perpetual calendar module. One of the waiters was a Portuguese immigrant named Carlos Dias, who had grand visions of building a watch company. That's where the partnership began – over coffee and horological dreams!

This background is why his early watches feel like "modern antiques." He took the strictest standards of 18th-century finishing and applied them to a case shape the world had never seen before.

The Sympathie case: form driven by harmony

The iconic Sympathie case has competing origin stories. While Carlos Dias later claimed credit for designing the shape, Mr. Dubuis explained that the basic form was actually proposed by a case maker in the Vallée de Joux, then refined by himself and Dias.

Here's a fascinating detail – The Sympathie case shape may have been inspired by Longines reference 846, which featured an angular square case that Mr. Dubuis would have known from his time at Longines in his earlier years. Even more intriguing, the caliber 990 from Longines, developed in 1977, forms the base for the calendar iterations of the Sympathie series.

The Sympathie case is neither tonneau nor round, but a nuanced blend of curves and angles that feels almost architectural. Its asymmetry is deliberate, designed to sit naturally on the wrist while maintaining visual balance from every angle. What makes this particular version even more remarkable – and often overlooked – is the sapphire crystal itself being cut to mirror the case shape, rather than relying on a standard round or domed glass. This was no small technical feat in the 1990s, when shaped sapphire crystals were expensive, difficult to manufacture, and rarely attempted. This assembly was so complex for water resistance testing that Mr. Dubuis abandoned it for a more conventional round crystal in the second generation.

The result is a seamless visual continuity between case and crystal, reinforcing the idea that this watch was conceived holistically, not assembled from off-the-shelf solutions.

The "Lucky 28" and a Sultan's Visit

The decision to limit each series to 28 pieces came from an Asian collector's suggestion, where the number 8 is considered lucky – perfectly aligning with Dubuis's student number 208. An unexpected visit from the Sultan of Brunei inspired the Maison to extend series to 28 watches when he desired a timepiece that was no longer available. This visit also heralded the brand's first bespoke order.

That First High Complication with an Iconic Case Shape - The Sympathie

A dial that rewards patience

At first glance, the dial appears dense, even intimidating. Yet spend time with it, and its logic reveals itself. The perpetual calendar is laid out with clarity, while the biretrograde indications – a signature Roger Dubuis flourish – bring motion and life to the display. Retrograde hands snap back instantaneously at the end of their arcs, a mechanical flourish that feels theatrical yet deeply satisfying.

What many non-enthusiasts miss is how challenging it is to integrate biretrograde displays into an already complex perpetual calendar chronograph. Being his first complication since leaving Patek, he wanted something more than what Patek can offer in a Quantième Perpétuel. Each retrograde mechanism requires precise energy management to ensure crisp returns without disturbing timekeeping stability. In the Sympathie, this is achieved with remarkable smoothness, reflecting Dubuis’ obsession with mechanical refinement.

The Movement: RD5637 (The Heart of a Legend) Tradition Elevated Through Invention

Turn the watch over and the true soul of the Sympathie reveals itself. The movement, based on a high-grade traditional chronograph calibre, was extensively reworked and modified to accommodate the perpetual calendar and biretrograde indications. This was not a simple modular add-on; bridges were redesigned, components re-engineered, and energy flow recalculated to preserve reliability. This isn't just a "modified" movement; it is a horological work of art.

Every visible surface is meticulously finished:

• Hand-polished bevels with sharp interior angles

• Geneva stripes executed with depth and consistency

• Black-polished steel components that catch the light like liquid mirrors

1. The Lemania Pedigree

The movement is built upon the legendary Lemania 2310 base. To put that in perspective for non-enthusiasts: this is the same base movement used in the Patek Philippe 3970 and the original Omega Speedmasters that went to the moon. However, Mr. Dubuis finished it to a standard that arguably surpassed its contemporaries.

2. The Bi-Retrograde Complication

The "Biretrograde" refers to the Day and Date hands on the dial.

• How it works: Instead of moving in a circle, these hands travel along an arc. When they reach the end (Sunday for the day, or the 31st for the date), they instantaneously "snap" back to the beginning in a fraction of a second.

• The Beauty: This requires a complex system of tension springs and snail cams visible in the movement detail. It is much harder to engineer than a standard rotating hand because of the energy required for that "snap."

3. The Poinçon de Genève (Geneva Seal)

If you look closely at the movement bridge in the photo, you will see a small shield-shaped engraving. That is the Geneva Seal. Roger Dubuis was the only watchmaker in history to have every single one of his movements certified with this seal during this era. It dictates that every part of the watch – even the parts you can’t see – must be hand-polished and finished to a mirror shine. Mr. Dubuis saw it not as a marketing exercise, but as a moral obligation to traditional watchmaking values. Each movement was finished as if it were destined for inspection, regardless of whether the seal was ultimately applied.

The hand-finishing techniques found in the Caliber RD5637 are a direct reflection of Roger Dubuis’ background as a master restorer, blending antique finishing standards with modern high complications. These techniques are essential for achieving the Geneva Seal, which mandates that every component – even those hidden from view – must be hand-polished to a mirror shine.

Key Hand-Finishing Techniques

• Anglage (Chamfering): This technique is visible on the edges of the movement bridges in the photos, where the metal has been meticulously polished to a "mirror shine". This serves both an aesthetic purpose, by catching the light, and a technical one, as every movement Roger Dubuis produced during this era had to meet these rigorous standards.

• Perlage (Circular Graining): As a master restorer, Mr. Dubuis applied the strictest standards of 18th-century finishing, which included decorating the base plates and hidden parts of the movement. The Geneva Seal certification specifically requires this high level of finish for the parts of the watch that the owner may never see.

• Mirror Polishing: This is evident in the finishing of the steel components within the bi-retrograde and chronograph systems. The complex tension springs and snail cams required for the "snap back" function are finished to a level that arguably surpassed the work of Mr. Dubuis' contemporaries.

• Aesthetic Integration: The finishing is not merely decorative; it is integrated into the "modern antique" feel of the watch, complementing the unique geometry of the Sympathie case and the shaped sapphire crystal.

The Geneva Seal Achievement

Roger Dubuis watches were certified as chronometers by the Besançon Observatory and hallmarked with the Geneva Seal. Each watch was even tagged with a tiny lead seal bearing the Poincon de Geneve. At the time, it was mainly Patek Philippe movements that carried the Geneva Seal, making this achievement extraordinary for an independent brand.

The watches were packaged in lavish marquetry boxes and accompanied by reams of certificates – and crucially, a spare solid case back just like Patek Philippe – demonstrating Dubuis's attention to every detail of the ownership experience.

The Sympathie Continuation

Following the complexity and theatricality of the Perpetual Calendar Chronograph Biretrograde, the Roger Dubuis Sympathie represents a quieter, more intimate side of the maison’s early years. The cushion-shaped case remains unmistakably Dubuis, yet the emphasis here shifts from mechanical bravura to proportion, elegance, and daily wearability. In the automatic version, the Sympathie feels effortlessly balanced — a watch that doesn’t demand attention, but rewards it. The dial layout is calm and legible, allowing the distinctive case architecture and finishing to speak softly but confidently, very much in the spirit of early Roger Dubuis Genève.

The lady’s manual-winding Sympathie takes this philosophy one step further, distilling the design to its essentials. Smaller in scale and powered by a hand-wound movement, it feels deeply personal — a reminder of an era when watches were not only instruments, but objects of quiet ritual. Winding the watch becomes part of the experience, reinforcing the connection between wearer and movement. Together, these two Sympathie models illustrate the breadth of Roger Dubuis’ early creativity: from technical statement pieces to refined, human-scale watches that age with grace rather than noise.

The Sympathie Chronograph

Completing the Sympathie lineage is the Sympathie Chronograph, a watch that quietly anchors the collection with purpose and restraint. Unlike the theatrical gestures of the Biretrograde, this chronograph is about balance - the cushion case framing a clean, classical dial layout that recalls traditional Genève chronographs, yet remains unmistakably Roger Dubuis. Powering the watch is the calibre RD56, based on the Lemania 2310 architecture, fully reworked, hand-finished, and certified with the Geneva Seal. This movement choice places the Sympathie Chronograph in rare company, sharing lineage with some of the most revered chronographs in watchmaking history, while expressing Dubuis’ own design language. It is a chronograph not designed to impress loudly, but to endure - technically, aesthetically, and emotionally.

Celebrating 30th Anniversary - The Hommage La Placide

For collectors familiar with the original Sympathie Perpetual Calendar Biretrograde, the Hommage La Placide represents not a replacement but a tribute to The Man they nicknamed “Placide” which make reference to his personality of calm, strength and precision.

The Sympathie was unapologetically of its time – expressive, mechanically animated, and emblematic of early Roger Dubuis’ desire to demonstrate mastery through retrograde theatrics and bold case architecture.

The Hommage, by contrast, speaks a quieter, more contemporary language, favouring symmetry, visual calm, and modern finishing over kinetic display. Where the Sympathie reveals the hand of the independent watchmaker, the Hommage reflects the evolution of the maison – refined, consolidated, and consciously restrained. This is a nod to collectors who appreciate how Roger Dubuis’ design and mechanical priorities have matured over time.

Conclusion – Why it matters today?

The Roger Dubuis Sympathie Chronograph Perpetual Calendar Biretrograde is not merely an impressive complication; it is a historical document. It captures a moment when independent watchmaking meant creative freedom, when finishing was non-negotiable, and when form followed philosophy rather than focus groups.

For collectors willing to look beyond brand stereotypes and modern excess, this watch offers something rare: authentic originality rooted in tradition, executed with courage and conviction. In hindsight, the Sympathie was not just a beginning - it was a benchmark.

The Last of the Mohicans: The Montblanc Villeret 1858 Vintage Pulsographe

In the world of high-end horology, there are "manufactures," and then there is Minerva. To own the Montblanc Villeret 1858 Vintage Pulsographe is to own a piece of a dying art – a watch created in a workshop where the 19th century never truly ended.

Having done the blog for the Lange 1815 Chronograph, I thought it would be good to follow up with another rich heritage chronograph and it is none other than the Minerva driven column-wheel chronograph Montblanc Villeret.

The Montblanc Villeret 1858 Vintage Pulsographe is a watch that represents a significant milestone in modern horology. It is essentially a "Minerva" watch wearing a Montblanc badge – a product of the Institut de Recherche en Haute Horlogerie in Villeret, where ancient tools and hand-finishing techniques are preserved like a living museum. With its rose gold case and the obsidian-like depth of a Black Grand Feu enamel dial, this piece is widely considered one of the most beautiful "doctor's chronographs" ever manufactured.

The Villeret 1858 Legacy: A Minerva in Disguise

The "1858" in the name refers to the year Minerva was founded in Villeret. When the Richemont Group acquired Minerva in 2006 and integrated it into Montblanc, they didn't just buy a name; they preserved a sacred workshop. The Villeret 1858 collection is the pinnacle of that acquisition. Unlike mass-produced luxury watches, these pieces are made in limited quantities (often limited to 18 or 58 pieces) because the finishing is so labour-intensive. In the Villeret atelier, watchmakers still use traditional tools – some over a century old – to hand-polish parts using local gentian wood and horsehair.

The View Through the Sapphire

Just like the 1815 Chronograph, turning the watch over is like stepping into a miniature cathedral of steel and gold. The architecture is dominated by the sprawling levers of the horizontal clutch and the instantaneously recognisable iconic "Devil's Tail" – a hand-polished arrow that serves as the calling card of the Villeret artisans. Every bridge is made of German silver, hand-bevelled with internal angles so sharp they catch the light like a diamond.

Early Year Villeret Collection

The first collection of four watches in Collection Villeret 1858 was released limited numbers - 1 unique piece in Platinum, 8 pieces in white gold and 58 pieces in red gold to signify the year 1858. Initially, all Collection Villeret 1858 timepieces were encased in precious metal. And following in the tradition of traditional watchmaking, the balance wheels of the 1858 timepieces beats at the classic 18,000 vph (or 2.5 Hertz).

The white gold version of the Vintage Pulsographe featuring a white Grand Feu enamel dial.

The Architecture of the Soul: Calibre 13.21 – The Minerva Pedigree

While the name on the dial says Montblanc, the soul of this watch is pure Minerva. Founded in 1858, Minerva became the "Master of Chronographs." This Pulsographe is powered by the Calibre 13.21 which was launched in 1923, a direct evolution of the 13.20 – the movement that proved wristwatches could handle the complexity of a chronograph.

1. The Column Wheel: The Mechanical Brain

The Calibre 13.21 is a column-wheel chronograph. While modern chronographs often use "cams" (which are cheaper to manufacture), the column wheel is a hand-finished "pillar" that coordinates the start, stop, and reset functions. Because of the column wheel and the perfectly tensioned springs, the "click" of the monopusher (integrated into the crown) is arguably the smoothest in the world – crisper than a Patek and as buttery as a Lange.

2. The "Devil’s Tail" (The Flèche)

The most famous signature of a Minerva movement is the "Devil’s Tail" (or the Minerva Arrow) which is the end of the chronograph blocker lever.

This tiny component is hand-filed into a sharp, pointed arrow shape showcasing the thoughtfulness and craftsmanship that goes into this movement. It serves no mechanical purpose other than to act as a "signature" of the master watchmaker. It is a flex of finishing skill – polishing those internal angles to a mirror finish is one of the hardest tasks in watchmaking.

3. Horizontal Clutch & Large Balance Wheel

The 13.21 uses a horizontal clutch (lateral coupling). This allows you to see the gears physically engage when you start the timer. Combined with the massive, slow-beating balance wheel (18,000 vph) and the Philips terminal curve hairspring, the movement feels like it belongs to a different century. It is a sprawling, mechanical landscape of bridges and levers.

4. The Hidden Insignia

If one is not careful, we can miss this hidden insignia and the Calibre number found at the bottom of the movement plate located beneath the balance wheel.

So, we know about the Devil's Tail but did you know the Minerva arrow is also inscribed onto the movement plate?

And as you have already witnessed, no effort is spared on the Montblanc Villeret. Even the base plate is well decorated (perlage). As long as the eye can see, it will be decorated.

The Monopusher "Cycle" vs. Two-Pusher Freedom

In a standard two-pusher setup, the top button (at 2 o'clock) handles start/stop, and the bottom button (at 4 o'clock) handles the reset. You can start, stop, and then start again without resetting - perfect for timing a football match.

The little details on the Montblanc Villeret series including the the mother-of-pearl logo on the crown.

The Pulsographe Monopusher (with its singular rectangular button at 2 o'clock) follows a strict linear logic – Start, Stop, Reset. You cannot "pause" and restart. This forces a rhythm on the user. For a doctor in the 1930s (the inspiration for the Pulsometer scale), this was a safety feature. It ensured that every new pulse reading began from zero, eliminating the risk of a "combined" reading that could lead to a misdiagnosis.

The Dial: The Eternal Depth of Grand Feu Enamel

This timepiece features a Black Grand Feu Enamel dial, which is a rare and difficult feat. "Grand Feu" (Great Fire) involves dusting a gold or copper plate with glass powder and firing it in a kiln at temperatures exceeding 800°C. At these temperatures, the dial can crack, bubble, or warp instantly. Black enamel is particularly difficult because any tiny dust particle or imperfection shows up immediately. Unlike painted dials, enamel will never fade, patina, or lose its lustre.

It has an "inky" depth and a liquid-like sheen that provides the perfect high-contrast background for the rose gold Pulsometric scale. And when viewed at the right angle, the dial reflects light like a mirror.

The "Doctor's" Aesthetic

On the wrist, the rose gold case provides a warm weight, but it’s the Black Grand Feu enamel dial that steals the show. It isn't just black; it is a bottomless, ink-like void that makes the white numerals and the pulsometer scale pop with surgical clarity. Designed to help physicians measure a pulse over 30 pulsations, the scale is a romantic nod to a time when a watch was a critical tool of the trade.

The Doctor’s Watch: A History of the Pulsometer

Before the digital age of heart-rate monitors and finger-clip sensors, a physician’s most important tools were their ears, their hands, and their watch. However, in the early 20th century, measuring a patient's heart rate was a clumsy exercise. A doctor would have to find a pulse, look at a standard watch, and count beats for a full 60 seconds. Alternatively, they could count for 15 seconds and multiply by four – but in a high-stress medical emergency, mental math is the last thing a doctor wants to do.

1. The "Graduated" Breakthrough

The Pulsometer scale was invented to remove the math from practicing medicine. It is essentially a "calculating machine" printed on a dial. By adding a specific scale – usually calibrated to 15 or 30 pulsations – the watch does the division for you.

When a doctor starts the chronograph at the first beat and stops it at the 30th, the chronograph hand points directly to the patient's heart rate in beats per minute (BPM) on the outer scale. It turned a one-minute task into a five-second one.

2. Why "Graduated for 30 Pulsations"?

You will notice the Villeret 1858 is "Gradué pour 30 pulsations." This is the "Goldilocks" calibration of medical watches.

15 Pulsations: Faster, but prone to a higher margin of error if the doctor stops the hand even a fraction of a second late. 30 Pulsations: Provides a more stable and accurate average of the heart rate while still being significantly faster than a traditional 60-second count.

3. Minerva: The Specialist of the Professional Scale

Minerva, more than almost any other manufacture, leaned into the "tool watch" era of the 1920s and 30s. While other brands were focused on aesthetics, Minerva was perfecting stopwatches for athletes and pulsometers for physicians.

The Calibre 13.20 (the ancestor of the 13.21 found in my Montblanc) was revolutionary because it allowed this medical scale to be miniaturized into a wristwatch. Suddenly, a doctor didn't have to fumble with a pocket watch; they could keep one hand on the patient’s wrist and the other on the monopusher integrated into the crown. It was the "smartwatch" of the 1930s.

4. The Romanticism of the Scale Today

In the modern world, no doctor actually uses a mechanical Pulsographe to save a life. However, the complication remains one of the most romantic in all of horology. Why? Human Connection: Unlike a Tachymeter (which measures the speed of a cold machine), a Pulsometer is designed to measure a human heartbeat. It is a "humanist" complication.

The Aesthetic of the "Ring": On the Villeret 1858, the pulsometer scale creates a beautiful frame for the Grand Feu dial. It adds a layer of technical complexity that contrasts beautifully with the elegant rose gold case. The red and white numerals on a black, highly reflective Grand Feu enamel dial in a rose gold case can be spotted a mile away – it’s just so pretty.

Which One for Which Day? Montblanc or Lange?

If I attend a formal black tie event, I choose the Montblanc Villeret. The way the light hits the Black Grand Feu enamel is mesmerising, and there is something incredibly romantic about the monopusher. It feels like wearing a piece of history – a watch crafted by a few artisans in a small village using tools their grandfathers once used.

However, if I want to feel the 'weight' of engineering, I slip on the Lange 1815 Chronograph. It's the watch I wear when I want to obsess over the details. I catch myself turning it over at red lights just to see the instantaneous jumping minute lever in action.

The Minerva 13.21 is the 'Soul' of my collection; it’s beautiful, temperamental, and poetic. The Lange L951.5 is the 'Brain'; it is flawless, architectural, and authoritative. One celebrates where watchmaking came from, and the other defines where it has arrived. Having both is not redundant – it is a complete education in the art of the chronograph and chronometry.

Montblanc or Minerva branded Chronograph

Comparing the Montblanc Villeret 1858 Pulsographe to a Minerva-branded chronograph using the same caliber (the MB M13.21 / Minerva 13-21) is a bit like comparing a bespoke tailored suit to the original architect's blueprint. Both are masterpieces, but they represent different eras and different levels of "finishing."

1. The Movement: Architecture vs. Execution

Both watches share the legendary 13-line monopusher chronograph architecture. This movement (Caliber 13.20/13.21) is widely considered one of the most beautiful and historically significant chronograph designs in horology.

Minerva Brand: Original Minerva-branded pieces (especially from the early 2000s) brought this movement into the modern age. The finishing was exceptional – easily rivalling brands like Zenith or JLC.

Montblanc Villeret: When Montblanc (via Richemont) acquired the Minerva manufacture in 2007, they didn't just keep the movement; they elevated the finishing to Patek Philippe or A. Lange & Söhne levels. The Montblanc Villeret 1858 pieces feature labour-intensive hand-finishing, including sharp internal angles, "black polishing" on the steel parts, and the famous "Devil’s Tail" on the chronograph lever (see above picture).

2. Dial Artistry

The obvious difference is in the dial material.

The Montblanc Villeret 1858 Pulsographe almost always features a Grand Feu enamel dial while the Minerva-branded chronographs used high-quality lacquered or metal dials, which are still beautiful but far less expensive and risky to produce than enamel.

BUT...

In the current secondary market, Minerva-branded chronographs often command a higher premium than their Montblanc Villeret 1858 counterparts, even when the movements are nearly identical.

The "Purist" Premium

Collectors of high-end chronographs are notoriously romantic about history. To a "purist," the name Minerva represents an uninterrupted legacy of movement making since 1858.

The Rarity of the "Gnutti Era" (2000–2006)

Most of the Minerva-branded watches you see on the secondary market with the Caliber 13.21 are likely from the Emilio Gnutti era. Just what does that mean? Just before Montblanc bought the company, Gnutti (an Italian billionaire) moved Minerva into the "Haute Horlogerie" space. He limited production to extremely small numbers – sometimes just a few dozen pieces.

Because these were the very last watches to ever bear the "Minerva" name on the dial before it became a sub-brand of Montblanc, they are viewed as "extinct" artifacts. High rarity + a dead brand name = higher collector value.

Case Size and "Wearability"

Montblanc Villeret pieces were often designed to be grand and prestigious, frequently coming in larger precious metal case sizes (41mm, 43mm, or even 47mm) that can feel bulky for a dress chronograph.

Minerva Brand chronographs, on the other hand, were produced in the "classic" sizes (37mm to 39mm) that are currently more in demand with modern collectors who prefer vintage-inspired proportions.

Regardless of whether it is the Minerva branded or Montblanc branded chronograph I believe each has it's own attractiveness although the current sentiment is biased towards the Minerva brand.

Final Thoughts

The Villeret 1858 Pulsographe is a "sleeper." To the untrained eye, it is a beautiful Montblanc. To the watch connoisseur, it is one of the finest hand-finished chronographs ever produced by human hands. It is a reminder that even in an age of silicon and automation, there is no substitute for a man with a file, a piece of gentian wood, and a passion for perfection.

To the average person, it’s a beautiful rose gold watch. To a collector, the Minerva-signed movement and the single-pusher layout represent the peak of 20th-century chronograph design, preserved in a modern case - IYKYK.

One last point for the folks at Richemont to consider - bring back the Minerva branded timepieces. That would be fun!

Horological Mastery in Graphite: The Art of Tamás Fehér

There is a profound connection between the world of high-end watchmaking and fine art. Both require an obsession with detail, a steady hand, and an immense amount of patience. Today, I want to share a piece that perfectly captures this intersection: a breathtaking pencil drawing of the A. Lange & Söhne 1815 Chronograph by Hungarian artist Tamás Fehér.

Tamás’s journey into the world of "Watch Art" is as fascinating as the drawings themselves. Previously a professional in real estate development, he felt a deep-seated need to create something truly creative. Inspired by his father - a jeweler and watchmaker - and a lifelong love for the precision of graphite, Tamás transitioned to a full-time artist in late 2019. "I wanted to spend an almost insane amount of time with a single watch, exploring every tiny detail. Drawing felt like the perfect way to do that."

The first commission project that Tom (I call him Tom) did for me was the Roger Dubuis Sympathie Chronograph Perpetual Calendar Biretrograde. Many years later, he did the more complex A. Lange & Söhne 1815 Chronograph - both drawings hang proudly in my living room. I share here with you the interview I had with Tom and his journey around his craft. Enjoy these incredible photos of his drawings!

Who is Tamás the artist?

First of all, thank you very much for the interview. It is always a pleasure to talk about my work. My name is Tamás Fehér, and I am a pencil artist from Hungary. I am a happy father of a newborn daughter.

I started my watch art collection at the end of 2019. Before that, I worked in real estate development. It was a solid career, but I felt a strong need to create something truly creative. When I sold my first drawing, I quit my full-time job immediately.

How did you start pencil drawing?

Drawing has been my main hobby since early childhood. Whenever I saw something interesting, often in a movie, my father and I would sit down and draw together.

I fell in love with the precision of graphite and the incredible level of detail that can be achieved with it. During my school years, I learned from many talented artists and teachers, for whom I am very grateful.

What sparked your watch drawing journey?

My father is a jeweller and watchmaker, and he had a very successful career in the industry. Because of him, I was exposed to watches at a very young age. However, the moment I truly fell in love with watches was in 2004, when I saw a Breitling Navitimer in a magazine.

The idea of the watch art collection came later. I wanted to spend an almost insane amount of time with a single watch, exploring every tiny detail. Drawing felt like the perfect way to do that.

When you draw a watch, how many pencils do you usually have with you?

Too many!

I have five large boxes of drawing tools, and these are only the ones I actually use. I am constantly experimenting to find what works best with my style. That said, the pencil is not the most important tool, the paper is. When I first tried a watercolor paper I am using, it completely changed my work.

What is the difference between “normal” paper and watercolour paper, and how does that affect your drawings?

Watercolour paper is a very thick, cotton based paper with a pronounced texture. Because of this surface, drawings tend to appear rougher and more expressive compared to those made on smoother paper.

While it is technically more challenging to work with, especially for fine details, this texture complements my style very well on a larger scale and adds depth and character to the final artwork.

How large is your table?

My desk is not very big, it’s the paper that’s big. I work section by section minimising the space utilised.

What are the steps you follow when starting a project?

I always begin by studying the watch itself, its history, structure, and details. This research phase is essential.

Next, I create small rough sketches to test the composition and decide how the drawing will sit on the paper.

For the final piece, I use the grid technique. A light grid is applied both to the reference image and to the paper. This allows me to draw a very precise draft without shading, just a clean, accurate outline.

After that, I begin shading. This is the longest part of the process, with over 100 hours required for my standard large-format works. Once finished, I photograph the drawing, because imperfections are much easier to spot in photos than with the naked eye. I correct them, then repeat this process several times.

And then, it’s finished. Very quick process! 😊

Do you fix the paper and move around the table, or do you rotate the paper as you draw?

I rotate the paper. Certain pencil lines work better at specific angles, so I need to turn the paper several times to achieve the best result.

What is the toughest part of drawing?

Some watches are always a huge challenge - especially the Audemars Piguet Royal Oak and Nautilus style watches by Patek. Their dials are insanely difficult to draw.

Colored drawings are also very challenging. Colored pencils are much stickier than graphite, which makes clean, precise lines harder to achieve. This is why I prefer graphite, my most precise works are done with it. But, people love color, so I work with both.

How long does it take to finish one drawing?

It depends on the size and the complexity of the watch, but usually 100+ hours.

Thankfully, I truly love what I do, so I can draw 10–12 hours a day. Of course, the body needs care during such long sessions. I train with a professional who specializes in spinal health and posture-related issues, and I’m very thankful for her support.

How do you research the watch and its movement?

I have a strong collection of watch books, and if the specific piece appears in one of them, I start there. I also research extensively online to deepen my understanding.

Do owners send photos to you, or do you research them yourself?

Usually, owners send photos. However, photographing such small objects, especially movements, is very difficult, particularly with a phone. In some cases, clients send me the actual watch, but most of the time I have to be… creative.

Which was your first watch drawing?

My first watch drawing was the Breitling Navitimer I mentioned earlier. It was the first watch I truly fell in love with. After I began selling my artworks, I was finally able to afford the watch itself. I still own it today and wear it regularly, which gives the piece a very personal significance.

What watches do you own, and do you draw them?

I now have a collection that I’m very proud of. It’s not as large or as valuable as many of my client’s collections, but it feels perfectly balanced to me.

To mention a few highlights, I own a few vintage Rolex watches, a 1969 pre Moon Omega Speedmaster, which I purchased from a stuntman and which comes with an incredible backstory, and a 1967 black dial Heuer Carrera in exceptional condition. That Carrera pairs perfectly with my 1967 black Ford Mustang GT, a car I absolutely love.

I also own a Tudor Black Bay that holds special emotional value. Two of my closest friends own the exact same model. We bought them together.

I do draw my own watches from time to time, especially when there is a strong personal connection to the piece.

If you were to choose three of the most demanding drawings, which would they be and why?

1. FP Journe Tourbillon Souverain Prototype

This piece was created in collaboration with the FP Journe Collectors Club community. I produce a drawing for them every year, but this time I wanted to create something truly special, as the Tourbillon Souverain is my favourite FP Journe watch of all time. The expectations were high, both technically and emotionally, which made it particularly demanding.

2. Audemars Piguet Royal Oak Michael Schumacher

This was my second commission for Christie’s and featured Michael Schumacher’s personal Royal Oak. The pressure was intense: the deadline was very tight, and I knew the artwork would be exhibited at the Four Seasons Hotel alongside the actual watch. On top of that, the Royal Oak is exceptionally challenging to draw due to its “guilloché dial”.

3. Paul Newman’s Paul Newman

The watch itself is not especially difficult to draw. However, I wanted to place it in a dynamic setting, incorporating a racetrack and heavy smoke. I quickly realised that creating realistic smoke on paper is far more complex than it appears, which made this piece unexpectedly challenging.

A Celebration of Detail

It takes a special kind of talent to render the soul of a mechanical watch using nothing but wood and lead. Tamás Fehér hasn't just drawn a watch; he has captured the very spirit of horological craftsmanship.

You may follow him on Instagram @darksideofthewatch or write to him at fehertamas4444@gmail.com should you want to commission a work. Hope you like the blog covering his work!