Appointed to the top job at Breguet just under a year ago, Gregory Kissling trained as a movement constructor and spent most of his career leading Omega’s product development. A native of the Vallee de Joux, Mr Kissling is now in charge of one of the most revered names in watchmaking, which this year celebrates its 250th year.

Aided by his background in product and long tenure at Swatch Group, the parent of Breguet, Mr Kissling is off to a running start. He has already made his mark with anniversary editions like the Classic Souscription, a simple but smart creation I rate highly, and holds ambitions to elevate the brand to where it should be.

He was recently in Singapore to open Breguet’s new boutique in Ion Orchard, a mall on the city’s premier shopping street, and I got my first face-to-face with him since he assumed the role. We discussed his plans for the brand founded by Abraham-Louis Breguet, ranging from an increased emphasis on artisanal craft, to Breguet design, and even one-off or custom watches.

The interview was edited for length and clarity.

SJX: You have one of the most interesting and exciting jobs in the Swiss watch industry; you have taken over one of its greatest brands.

Gregory Kissling (GK): It is a fantastic brand and every day I learn something new [about its history]. The heritage and legacy are immense. And also the fact that Breguet has a true manufacture – we produce everything in house but also thanks to the sister company of Swatch Group, so we are able really to keep innovating with our product.

We have also a great patrimony – almost 200 historical timepieces in our museum in Paris. Thanks to this anniversary we also have the opportunity to exhibit these timepieces [around the world]. Today you have an opportunity to see some antique timepieces [here in the new boutique]. With the new products we want to link the historical timepieces and the today’s collection.

SJX: You mentioned the production. In terms of the brand’s scale, is it where you want it to be, or do you think Breguet should be a bigger brand, smaller brand, more niche, more high-end?

GK: There’s still room for improvement, but the goal is not to produce thousands and thousands of pieces.

We have a collection with different families, so it’s not a mono-product collection. We want to keep [growing] these families, of course, not only about new dials and so on, but we want also to continue to innovate with new movements, because we have the facilities.

The knowledge is not only about having machines but you need also the right people to innovate with new calibers. It is our duty to continue to innovate with the means of today.

One example is escapements; Breguet is the father of the natural escapement. Now we have silicon; Breguet was one of the first brands to use silicon [hairsprings].

SJX: And with an overcoil.

GK: With an overcoil, but also as a flat hairspring back in 2005. Now the silicon hairspring is almost everywhere.

We need to continue to innovate but also to respect tradition – we need to keep this spirit. To give you an example, we discovered that Breguet was actually the very first watchmaker to use platinum. This is why we came up with the Tradition anniversary model with an oscillating weight in platinum instead of gold, because we wanted to tell to the audience that Breguet first used platinum for the oscillating weight.

SJX: You mentioned the manufacturing, production and movements and the Swatch Group. Being part of the group is one of the greatest strengths of Breguet. You have an ability to produce movements in-house…

GK: And cases and dials and so on…

SJX: Being able to do all of this in-house, some of the capability is also shared. How do you preserve the uniqueness of Breguet? In the past there were movements that were shared across Breguet and Blancpain.

GK: Some [past movements], like the alarm movement, were shared, but all the new calibres are unique [to the brand]. The conception and design of movements is quite unique, and there is a clear separation between the brands. [Instead] we share innovations and some technology. The magnetic regulator for the minute repeater was actually invented by Breguet for the Musicale, but then used by other [group] brands.

Breguet’s magnetic govorner in a singing bird watch by Jaquet Droz. Image – Jaquet Droz

SJX: We just discussed production and manufacturing, but in the new Souscription watch, some of it is not just that, but also handmade and hand-finished.

GK: This is something we wanted to preserve because of the blued [Breguet] hands. But now a majority of brands are producing blued hands with an oven. But with an oven you have always the same colour. But if you want to add the human touch when blueing the hand, especially this type of hand, it’s quite tricky when heated by hand. We just spend one and a half hours just producing a single hand, so the hand is finished by hand.

We wanted really to bring back this old technique, [which was possible] thanks to our restoration workshop. The workshop works on historical timepieces, but here for the first time they are helping us in production [of a new watch].

They helped not only making the single hand but also the secret signature [on the enamel dial] that is engraved with a pantograph. We can transfer the secret signature with a laser, but we did it just as it was done in the old days. In fact, we bought an old pantograph at auction, dating from the era of [A.-L.] Breguet.

It was not easy because we had to find the right technique in order to not scratch the enamel. This is probably the most impressive thing [on the dial] because many brands have enamelling or guilloche but pantograph engraving is quite unique.

SJX: When I first read the materials for the Souscription. it was notable that a pantograph was used and the hand is made by hand. Because for some years Breguet talked more about watchmaking and technology rather than hand work. 

GK: This is what we want; you have probably noticed there’s more and more the behind-the-scenes information, especially on our social media. This is definitely our new way of communication. We want to show what is behind Breguet, not only about the assembly but also about guilloché [and other artisanal techniques]. The process makes a difference for the consumer, especially for the new audience.

SJX: So would it be accurate to say that going forward Breguet won’t just be about watchmaking but also craft and art?

GK: Take our tagline, “Crafting emotion for 250 years, one invention at a time”. The best example is in the eyes of a client or journalist after the manufacture tour.

We don’t just show our workshop, you can enter into the workshop, you can talk to the artisans. You can even try guilloche or enamelling and so on. The next time you come to L’Orient, you will have the opportunity to do the flame blueing.

The Breguet manufacture

SJX: You mentioned clients and the universe of Breguet. Breguet is a very historical brand, associated with clients like Pushkin, Napoleon, places like Versailles. With that kind of history, how do you connect to the young client of today?

GK: Some of our new clients know the history. But, we have to train [our own staff] to transmit all this energy and passion. This is why we recently introduced a new learning management system to train our sales force.

We are investing a lot in terms of training, and also through social media and [key opinion leaders]. I think this something that is quite important because you know the young generation that don’t only trust on the brand but they also trust [key opinion leaders].

A half quarter repeater made for Napoleon Bonaparte’s sister, Pauline, in 1813. Image – Christie’s

SJX: And also speaking of history, Breguet also has history in aviation. The Type XX was facelifted not too long ago, but you just launched a new variant and it’s quite different from the 2023 model.

GK: Exactly. And it’s a fantastic movement by the way. We also took the opportunity to celebrate the anniversary of the very first Type XX in gold from exactly 70 years ago. Only three Type XX in gold were produced in 1955, we only have one [in the museum].

Thanks to the archives, we discovered that this Type XX in gold with a black dial was actually born with a silver dial featuring a 30-minute register instead of 15-minute. At the time it was common to change the dials and modify the watch, though today we might call it a “franken-watch”.

This is why we came up with the new Type XX [with two dials]. The [black] aluminium dial has a specific type of anodisation treatment, which is used in the space industry, absorbing up to 95% of light so you have a great readability.

We also wanted to celebrate the aviation chapter of the brand because there are only few clients who know the Breguet family also had one century of aviation innovation starting from the fifth generation, with helicopters and then airplanes.

We wanted to pay tribute to the very first transatlantic flight from Paris Le Bourget to New York on a Breguet Br.19 Super Bidon in 1930 [with the engraving on the back]. Usually we use such engraving for high-end, complicated watches, like the equation of time. Here’s [the engraving] is simpler, so we spend less time than on complications, but we still use the same métiers d’art technique.

SJX: And the design of this is very much more vintage than the 2023 model. Is this an intentional direction for you?

GK: I we wanted really to balance this collection. The current Type XX in steel, they have a date, self-winding mechanism in 42 mm, but we wanted really to extend the collection with a more vintage look. The size is really good, 38 mm. The leg-to-leg is quite big because of the design of the legs.

We were quite surprised that we could fit the movement into this case. There’s a direct integration between the movement and the case body and the distance between the counter, the register and the center are just perfect. And we decided to remove the self-winding mechanism in order to respect the dimension of the past. So there’s room for both collections. It’s a line extension I have to say and yeah, more references to come.

SJX: On the brand and on the design, I two questions about the design. One is that the Breguet design is very influential. Everyone knows Breguet hands, Breguet style, Breguet numerals.

GK: We are only brand that is named by our competitors!

SJX: Exactly. It’s a sign of success, but how you stand out? And the second question, the Souscription is a new look for Breguet. It is almost entirely different from the classical watches, but it still feels like a Breguet.

GK: Absolutely. We had a big debate internally because there is no fluted case. But if you take the history, the fluted [wristwatch] case came out around 1930.

SJX: The fluted wristwatch case was designed by the English owner [of Breguet at the time].

GK: Exactly, after [A.-L.] Breguet’s time. And the first Souscription pocket watches were made in either silver [cases] with a gold bezel and back, or completely in gold. But the case band was completely smooth without any decoration. This is why we wanted to remove some design codes. Of course, the Classique line still features the fluted case band.

We also completely redesigned the lugs because everyone is talking about case diameter, but for me, the lug-to-lug distance is more important, how it fits on the wrist.

We wanted to keep the 40 mm diameter because Breguet produced many Souscription pocket watches from 50 mm to 61 mm, and the Medaillon format of pocket watches with 40 mm diameter. But below 40 mm it’s almost impossible to read the time with precision [on a one-handed watch].

So we wanted a large dial but at the same time we wanted to optimise the ergonomic aspect of the watch. This is why we completely redesigned the case from the top view but also from the side view where lugs that are actually [integral] to the case body.

Breguet No. 1584 with smooth caseband, silver case with pink gold bezel and bow. Image – Christies, November 2013

SJX: And even the crystal is interesting from a historical perspective…

GK: We discovered during the development phase that Breguet was also the designer of the chevé-shaped glass. We have the letter Abraham-Louis Breguet wrote to the supplier [of crystals].

[Pierre] Royer produced the crystal glass for the watchmakers and Breguet actually designed the shape of this kind of glass. Because at the time the glasses were completely domed; while Breguet wanted to reduce the total thickness of the pocket watch in order to fit the watch in the pocket.

So he actually redesigned the crystal and this is why we came out with the chevé shape [for the Souscription] in order to reduce as much as possible the height of the case. And also this kind of shape also brings a lot of light which is also useful to read the time with just one single hand.

Parisian glass worker Pierre Royer is said to have invented the chevé crystal for A.-L. Breguet around 1791. Image – Verreries des Trois-Fontaines

SJX: It sounds like you were very involved in the development of the Souscription. But you didn’t join Breguet that long ago. How long did it take to develop the Souscription?

GK: [Laughs] I started officially first of October last year, but I started unofficially in September, and already had some clear ideas in July, August. The movement was already on the way [before that].

We launched the product in April and we are delivering now the watches. When you are a vertically-integrated manufacturer, you have clear ideas.

SJX: Even though you didn’t join Breguet that long ago, this product is your creation. Is it fair to say this is your first creation at Breguet?

GK: Exactly. First, but with my team, not only myself.

SJX: Historically Breguet used to do a lot of custom-made watches, and special orders.

GK: We still do. This is part of the business. We receive some requests and this is part of the DNA of the brand.

SJX: It’s not like an official programme, like say at Vacheron Constantin where they have Les Cabinotiers. Do you talk about it much?

GK: We don’t do any marketing about this, but of course everyday we receive some orders [for such watches]. Sometimes we say yes, sometimes we say no, but it’s part of the business.

Breguet’s most complicated work, No. 160, alledgedy made for Marie Antoinette. Image – L.A. Mayer Museum for Islamic Art, Jerusalem

SJX: What can the client ask for? If somebody says they want [the Souscription] in titanium, would you make it in titanium?

GK: They usually ask for specific materials or specific guilloche pattern, because we are able to produce specific guilloché motifs. Sometimes they want a specific hand.

I’m not sure about titanium, but other precious metals [are possible]. Platinum could be an option because we discovered that Breguet produced few Souscription pocket watches in platinum. We always check if there’s a link with the past, and it’s a discussion between the client and HQ.

SJX: And continuing on that, I assume in the pipeline there will be some grand complications?

GK: Time will tell, but of course you can imagine that developing a new grand complication takes a lot of time. We need to do it in the right way.

But there are more surprises to come. Already at the end of the year will be a surprise. We don’t want only to talk about the existing or past inventions, but we want also to send a very strong signal for the future.

Breguet will very likely close its 250th anniversary this year with a bang: launching a 21st century Sympathique as a tribute to perhaps Abraham-Louis Breguet’s greatest invention, a clock that could autonomously wind, correct, and regulate a removable watch.

While the brand has released no details, and there haven’t been any leaks, a series of patents gives us a peek at the new Sympathique. Notably, the patent drawings illustrate two possible companion watches: a 60 m water resistant Marine tourbillon and a Tradition. The latter is more interesting as it uses a novel form of Breguet’s échappement naturel, or natural escapement.

We explain both the new Sympathique 2025 and the natural escapement using information gleaned from Breguet’s patents.

Breguet Sympathique No. 1 by Francois-Paul Journe

Initial Thoughts

Three of the most historied names in the watch industry are celebrating anniversaries this year. Vacheron Constantin marked the occasion with Solaria, the most complicated wristwatch to date, while Audemars Piguet introduced an all-new Royal Oak Perpetual Calendar (and promises more to come in the fall).

In comparison, Breguet has debuted the Classique Souscription and Tourbillon Sidéral so far, both of which are objectively good watches but feel underwhelming in technical terms. A new Sympathique, on the other hand, would be the ideal centrepiece for the brand’s anniversary collection, being visually impressive, an icon of the brand, and entirely unique in the current market.

A drawing from Breguet’s Swiss patent CH717698A1

Of all A.-L. Breguet’s creations, the Sympathique was the most ambitious. The principle of the Sympathique was a simple one: the wearer would install his watch into the clock at night, and while he slept, the clock would wind, set, and regulate the watch, making it ready for use the next day. The execution of the concept, however, was exceptionally difficult and complex.

A.-L. Breguet’s firm on managed to deliver only eight Sympathique clocks during his lifetime, and not all with companion watches – the company completed five times as many tourbillions in the same period. Today, by combining the Sympathique with a natural escapement (another idea A.-L. Breguet struggled to realise during his lifetime), the modern-day Breguet firm is symbolically completing the master’s great unfinished works.

A key figure in realising the modern-day Sympathique clock is Alain Zaugg, the longtime head of Breguet’s technical development department who retired in 2021; his name is on all the related patents.

The small-correction approach

Historical Sympathique clocks cannot perform large time corrections, instead these clocks can only maintain a running watch by moving the time a short distance to the current time, and are unable to set a stopped or wildly inaccurate watch from scratch.

This small-correction approach is a limitation, but makes autonomous regulation possible, as a pair of pawls attached to the minute hand adjust the rate proportionate to distance and direction of the correction. A Sympathique corrects a very fast watch by moving the time significantly backwards, which simultaneously retards the rate substantially, and when correcting a slightly slow watch by adjusting the time forward, it will slightly advance the rate.

Setting and regulating of watch No. 2787 associated with clock No. 430 (page 352). Image – The Art of Breguet

Sympathique no. 128, made for the Duc d’Orléans and the most valuable Sympathique clock ever made, is very different. Rather than making minor corrections at regular intervals, the watch is automatically set to three 0’clock at that time in the morning.

This approach precludes automatic regulation, but as George Daniels (who restored the clock and watch) points out in The Art of Breguet, regulation isn’t needed “[as] this is a precision watch the parent clock does not move the regulator, as was done with the earlier type of Sympathique watch, which had no temperature compensation”.

Perhaps the most storied historical Sympathique, the example made for the Duc d’Orleans in 1835. Image – Sotheby’s

While the modern Sympathique has the same goals as those built under A.-L. Breguet, it goes about it entirely differently, resulting in it being the most polished and capable such clock yet.

The modern-day Sympathique illustrated in the patents goes even further, first resetting the watch and then adjusting it to match the current time. The innovations fix some of the shortcomings of its historical counterpart: the clock will probably be able to set the time automatically or on demand, and the automatic setting interval will probably be adjustable (and even disabled at will), though details on those functions are still hazy.

The new system shifts most of the time setting equipment to the clock – reminiscent of Louis Raby’s approach in Sympathique no. 5 – leaving the accompanying watch more similar to a chronograph controlled by the clock than anything else. The clock is essentially a trip-repeater set to trigger at a predetermined time, not unlike the alarm in Patek Philippe’s Grandmaster Chime.

The patent drawings depict the clock with a tourbillon, possibly a reference to A.-L. Breguet’s tourbillon carriage clock no. 780. If the drawings accurately represent the final product, the new Sympathique be a contemporary design entirely unlike any before, which is welcome. I hope there will be as much design diversity at Breguet in the future as in the past. Ideally that diversity would include an ecosystem of inter-compatible Sympathique clocks and watches.

Sympathique No. 5 made by Louis Raby in collaboration with Breguet. Image – Museum of Islamic Art, Jerusalem

The control mechanism

The wristwatch sits inside a cradle at the very top of the clock, as is convention for the Sympathique. While the patent drawings show the watch without a strap for clarity, the strap doesn’t need to be removed, unlike the small run of Sympathique clocks made by Breguet made in the 1990s that were developed by Francois-Paul Journe and then produced by Techniques Horlogères Appliquées (THA).

Within the cradle, the clock winds the wristwatch through its crown, and sets the time using a pair of actuators, similar to a stylus used to correct the date on a perpetual calendar.

Image – EP4202575B1

A counter-clockwise rotating cam (yellow) is locked by a lever (magenta). During time setting this lever releases the cam, which turns, pushing the first actuator (orange) all the way in to the first position, which stops the watch and resets the hands to 12:00:00. The watch remains stopped when the actuator drops out halfway into a second position, where the cam is locked by a second lever (black) allowing a second actuator (purple) to set the time.

Image – EP4202575B1

Since time setting is not instantaneous, the clock sets the watch slightly into the future, such as the next five-minute increment. Once the clock reaches that time, the second lever (black) unlocks the cam (yellow) which finishes a full 360° rotation, causing the first actuator (orange) to retract and the watch starts with the correct time.

Time setting

Now, we are going to go through the process again, but from inside the watch. A heart-shaped cam (brown) on the hour wheel and hammer (teal) reset the hours and minutes to 12:00, just like the reset of a chronograph. A vertical clutch (pincers in light blue) disconnects the hands from the rest of the movement just before reset. This means the reset and setting systems won’t need to fight friction from the canon pinion. The first actuator controls all these actions by moving the control lever (red).

When the first actuator (orange) pulls back halfway, into the second position, the control lever (red) pushes the motion-works hammer away while the combined seconds reset hammer and hacking lever (purple) stay in place, and a lightly tensioned jumper spring (pink) holds the motion works steady. Then the yellow control cam is locked in place, and time setting begins.

Image – EP4202575B1

The second actuator controls a jumper (blue). Each step advances the time forward by five-minute increments, similar to how the hour hand jumps in some travel time watches. Since this is done in discrete steps, static friction would again be an issue if not for that vertical clutch.

Image – EP4202575B1

(To explain time setting, I’ve used a simplified drawing from a related patent. A rack and snail-cam system reads the clock’s time and then transmits it to the watch. This is the same mechanism used by chiming clocks and repeaters. Another, more complex implementation – not covered here – uses two small snail cams rather than one large snail cam. In this implementation, if a 15-minute time setting resolution is acceptable, the clock could use the same cams for a grande ou petite sonnerie or quarter repeater to set the watch.)

In this case, a single massive cam – which rotates once in 12-hours – is divided into 144 steps, with each step representing five minutes. The rack (dark grey) falls onto the snail (gold) and is pulled back to its starting position. This passes through a differential (dark teal), and a shaft (magenta) transmits this motion to a four-pointed star (lime), which pushes the second actuator to advance the time.

Image – CH717698A1

The further the rack falls, the more times the second actuator is pushed, with the highest point on the cam being zero actuations (12:00) and the lowest point being 143 actuations (11:55). Naturally, a similar system could set a date on the watch from a perpetual calendar on the clock, which is also claimed in the patent.

A New Escapement

Similar to the Rolex Dynapulse or Ulysse Nardin Dual Ulysse escapement, the two escape wheels are geared together on a single level using specially designed toothing – while not explicitly claimed in the patent, the escape wheels will almost certainly be silicon. However, unlike the Rolex and Ulysse Nardin escapements that use an intermediate lever, this is a true natural escapement with direct impulse, as the escape wheels directly impulse the balance.

Image – EP4053643B1

In theory, energy transfer should be more efficient in a natural escapement than in escapements using an intermediate lever. There is also very little sliding action, reducing friction to a minimum.

The balance carries a pin which pivots an anchor back and forth, locking and unlocking the escapement, similar to a lever escapement. The locking lever sits on the same plane as the escape wheels, as opposed to above as seen in those made by A.-L. Breguet, likely reducing the system’s height.

Image – EP4053643B1

This would be Breguet’s first foray into alternative escapement designs since its experimental detent escapement that debuted in 2005 but never made it to market – a reminder that patented inventions are not always viable for commercialisation. That said, I believe this time will be different, and we will finally see a fully realised Sympathique closer to the end of the year when Breguet’s 250th anniversary celebration reaches its high point.

Breguet celebrates a milestone by looking to the stars with the Classique Tourbillon Sidéral 7255, which is the brand’s first flying tourbillon and also dressed up with an aventurine enamel dial. The Tourbillon Sidéral is the brand’s latest anniversary edition – and the most complicated so far – coming after the Classique Souscription and more recent Type XX 2075BH.

Initial Thoughts

Abraham-Louis Breguet’s workshop only built between 40 to 49 tourbillons in his lifetime, explaining the mythical rarity of the mechanism in historical watchmaking. Now more tourbillons are built in a single day – possibly even by a single brand – than during Breguet’s entire lifetime. Consequently, the tourbillon is no longer regarded with the reverence it enjoyed for centuries.

Tourbillons aren’t inherently special today, but still have appeal when executed well; the whole of the parts can be more than the sum of the parts. The Tourbillon Sidéral is executed well and appealing. Flying tourbillon aside, the rest of the watch is very good, though not ground breaking.

As with Breguet’s other 250th anniversary models, the Tourbillon Sidéral is more interesting aesthetically than technically since the movement is derived from the longstanding Lemania calibre. That approach will change as the year’s end approaches as Breguet has something bigger in the pipeline. For now, the Tourbillon Sidéral is an excellent watch that may suffer under the weight of expectations, but perhaps unfairly so, since other brands receive kudos for doing less.

Putting the Stars in the Sky

On this day, 224 years ago, the French Ministry of the Interior granted A.-L. Breguet a patent for his most famous creation. Breguet’s invention rotated all the components most relevant to timekeeping along the same axis as the balance, theoretically giving the same rate across all vertical positions. It was a natural fit for chronometry trials using the Plantamour rating system, which emphasised consistency across positions and there the tourbillon built its reputation, certificate by certificate.

Breguet No. 1176. Image – Breguet

Fittingly, Breguet is marking its 250th anniversary with a tourbillon. Despite the name, the Classique Tourbillon Sidéral is largely a traditional tourbillon and not a tourbillon with an astronomical display.

Sidéral is not a reference to sidereal time, but instead the sparkly aventurine enamel dial, a first for Breguet. As an aside, the brand’s aventurine-esque moon phase disks found on its perpetual calendar models are blue lacquer, not aventurine glass.

Most watch brands buy sheets of industrially produced aventurine glass which is then cut and polished like a natural stone dial.

Breguet instead opted to make its own aventurine glass from scratch using a technique akin to grand feu enamelling. Raised rims along the dial perimeter and the apertures for the hands and tourbillon act as walls to contain the powdered glass and copper flecks as the dial is built up, painted layer by layer, and then repeatedly fired in a kiln at 800°C, one strata at a time.

All That Glitters is Gold

The Breguet hands, applied text, and tourbillon aperture frame are all solid 18k Breguet gold, a proprietary yellow gold alloy. Even the eccentric hour ring at 12:00, which carries Breguet numerals and the “secret signature,” is solid gold underneath the blue PVD coating.

The 38 mm case is also Breguet gold, and in return to its usual fare (unlike the Souscription), the case features the cold-rolled fluted case band and straight welded lugs. Each case is individually numbered out of 50.

Despite all of the precious materials on the dial, the centrepiece is the flying tourbillon. Surprising as it may be, this is in fact Breguet’s first flying tourbillon, a concept independently realized by English and then German watchmakers over a century ago.

The brand did have a historical model that resembled a flying tourbillon, but was not. The Classique Tourbillon Messidor 5335 of 2007 sandwiched the tourbillon between two clear sapphire disks, creating a levitating effect. The lower support of the cage was also sapphire, completing the illusion.

Breguet has revisited the Messidor’s movement for the Tourbillon Sidéral, transforming it into the cal. 187M1 with the brand’s first flying tourbillon.

Unlike A.-L. Breguet’s original invention, the flying tourbillon is supported on only one side, doing away with the upper bridge and providing a clear view of the cage. On the Tourbillon Sidéral, the tourbillon sits a full 2.2 mm above the movement, and even stands proud of the very thick dial, adding to the three dimensionality of the face.

An exploded view of the flying tourbillon assembly

The tourbillon cage rotates once per minute, acting as a de facto seconds hand. Inside is a free-sprung, screw-poised balance beats at a stately 2.5 Hz.

While Beguet has been a pioneer in silicon for many years, the Tourbillon Sidéral relies on a Nivachron metal alloy hairspring and escapement. Naturally, the Nivachron balance spring has a Breguet overcoil, and is blue to evoke the blued steel springs of the past.

The bridges and plates of the cal. 187M1 are solid 18k Breguet gold to match the case and dial furniture. The choice of gold is fitting as A.-L. Breguet chose rose gold rather than brass for perhaps his most famous work, pocket watch no. 160 that was allegedly made for Marie Antoinette.

Both the full plate and lower tourbillon bridge are engine turned with the “Quai de l’Horloge” guilloché found several of the 250th anniversary models, including the Souscription’s case back.

Like the Souscription, each Tourbillon Sidéral is accompanied by individually numbered red leather box that is unique to the anniversary editions. And the certificate of origin is signed by both Breguet chief executive Gregory Kissling and president Marc A. Hayek.

Key facts and price

Breguet Classique Tourbillon Sidéral
Ref. 7255BH/2Y/9VU

Diameter: 38 mm
Height: 10.2 mm
Material: 18k “Breguet” gold
Crystal: Sapphire
Water resistance: 30 m

Movement: Cal. 187M1
Functions: Hours, minutes, flying tourbillon
Winding: Manual wind
Frequency: 18,000 beats per hour (2.5 Hz)
Power reserve: 50 hours

Strap: Alligator strap with folding clasp

Limited edition: 50 pieces
Availability: First availability at boutiques, and subsequently at retailers
Price: CHF190,000 before taxes

For more information, visit Breguet.com.

Abraham-Louis Breguet (1747-1823) stands among the most revered names in horology, celebrated for innovations that shaped modern watchmaking. While his tourbillon, self-winding mechanism, and anti-shock system are widely acknowledged, his work in astronomical timekeeping, particularly equation of time (EOT) watches, remain one of Breguet’s most intricate yet less-explored achievements.

With 2025 marking the 250th anniversary of his birth, this guide offers the most comprehensive study of every known EOT timepiece made during his lifetime, including pocket watch no. 160 “Marie Antoinette”, expanding on our prior analysis of the complication (in parts I and II).

No. 160 as pictured at the recent exhibition in London’s Science Museum. Image – Baruch Coutts

Looking at the stars

Breguet operated in an era where precision timekeeping was dictated by astronomy, and his workshop, positioned at the heart of Paris’s scientific and commercial networks, was uniquely placed to serve scientists, navigators, and royalty who required accurate solar and mean time readings.

Rather than settling on a single method for displaying and correcting the EOT, he explored multiple mechanical solutions, refining some while revisiting earlier ideas when necessary. His approach does not follow a strictly linear evolution but instead reflects a dynamic cycle of innovation, mechanical experimentation, and adaptation.

Breguet’s cam-driven system with feeler to indicate EOT, as found in pocket watch no. 3862

As Breguet passed away in 1823, some of the timepieces included here were completed under the direction of his son, Antoine-Louis Breguet (1776-1858), who continued the firm’s work while maintaining his father’s standards. However, the lack of access to Breguet’s complete archives remains a handicap in reconstructing the full scope of his work. If anyone is aware of an EOT watch not included in this research, please let us know, we welcome any additional information that can help refine this study.

A Spectrum of Solutions: EOT Displays & Mechanical Evolution

Breguet’s approach to EOT was not a single trajectory of refinement but rather a continuous process of experimentation, revision, and the occasional return to earlier concepts. Over more than five decades, he produced 21 functional EOT pocket watches, moving between different designs rather than following a strictly linear progression. His willingness to reintroduce earlier ideas in later models suggests that he did not see one solution as inherently superior to another but instead tailored each execution to suit its movement architecture and intended owner.

The choice of approach was dictated by the function and audience of each watch. Scientists required precise solar readings, navigators relied on astronomical calculations, and aristocratic patrons sought technical ingenuity paired with aesthetic refinement. As a result, Breguet’s EOT mechanisms ranged from subsidiary displays (e.g., No. 92 and 160) to “running” EOT, also known as équation marchante, (e.g., No. 1348 and 2614) and, ultimately, to dual-dial layouts (e.g., No. 1226 and 3863).

The movement of watch no. 217. Image – Christie’s

The introduction of these indications, made possible by differential gearing, allowed both time scales to be displayed simultaneously on a single or dual dial, eliminating the need for manual calculations. Yet even after refining this system, Breguet continued producing cam and lever-driven EOT watches, reinforcing that his work was not about replacing one approach with another but selecting the most suitable solution for each watch’s technical demands.

Though Breguet spearheaded these advancements, he was not working in isolation. His son, Antoine-Louis, played a crucial role in refining precision during the 1820s, particularly in the adaptation of EOT mechanisms to what was then considered ultra-thin designs.

Meanwhile, his pupil Jean-Charles Oudin (1768-1840), better known as Charles Oudin, later expanded upon these principles in his own timepieces produced in the Palais-Royal workshop established after he left Breguet, demonstrating the master’s techniques influenced a broader network of watchmakers. Their combined efforts ensured that Breguet’s EOT watches were not only technically sophisticated but also highly adaptable, proving that his legacy was as much about versatility as it was about mechanical precision.

A Unique Experiment & Charles Oudin

The earliest known attempt by Breguet to display the EOT in a portable watch predates his mature system by several years. Long before the introduction of more conventional indications, he experimented with more direct solutions. The only example of its kind known to have been produced by Breguet, No. 444 stands as a unique experiment, offering rare insight into his earliest efforts to translate astronomical time into mechanical form.

Breguet No. 444 (c. 1779)

Breguet No. 444, completed in 1779 but sold only two decades later on April 7, 1799, to a Mr Renble, represents an early attempt at integrating the EOT into a pocket watch. Unlike later models with cam-driven subsidiary displays, No. 444 employed a rather unusual and exotic pivoted auxiliary hand mounted directly on the meantime hand. Though eventually replaced by more advanced systems, it remains a significant step in Breguet’s use of EOT indications.

Breguet No, 444 (ca. 1779). Image – The Art of Breguet by George Daniels

Oudin, one of Breguet’s most skilled apprentices, was actively engaged in horological advancements at the time of No. 444’s production. Later appointed Watchmaker to Napoleon I, Oudin’s early training under Breguet shaped his expertise in astronomical horology.

The dual signature on No. 444, of both Breguet and Oudin, suggests Oudin played a direct role in the development of its EOT system. Whether it was a collaboration or a delegated project, the watch aligns closely with Oudin’s later precision work. A second known example, signed solely by Oudin, is housed in the Musée Paul Dupuy in Toulouse, reinforcing his contribution. Another related watch, No. 4970, carries the inscription “Équation inventée par Charles Oudin Palais-Royal n° 52”, indicating that he continued refining this display method beyond his tenure in Breguet’s workshop.

The equation cam at the centre of No. 444 (ca. 1779). Image – The Art of Breguet by George Daniels

A fundamental limitation of No. 444 was that its EOT indication remained relevant only once per day. The watch’s calendar disc and equation cam completed a full 360º revolution annually, yet the EOT hand, pivoted on the hour hand, only reflected the equation deviation at noon. For the rest of the day, its position became meaningless, failing to provide a continuous reference for the equation of time.

Unlike later designs where a kidney-shaped cam allowed for dynamic, real-time EOT adjustments, No. 444’s system required the wearer to infer the correction manually, relying on a static offset that did not update throughout the day. While mechanically intriguing, this approach proved less practical than the continuously variable indications that followed, which ensured greater precision and legibility.

No 444 (ca. 1779) @ The Art of Breguet by George Daniels (this view illustrates the feeler system that connects the equation cam to the superimposed equation hand. As the cam rotates, the feeler follows its contour, transmitting the variations in the Equation of Time to the equation hand, which displays the correction on a time scale divided into 5-minute intervals)

Mechanically, No. 444 follows Breguet’s Souscription model, balancing precision with streamlined production. It features a manually wound central barrel, a three-armed plain balance, and a ruby cylinder escapement, a system Breguet favoured before transitioning to lever and tourbillon escapements. A spiral steel balance spring with a compensation curb ensured temperature stability. The engine-turned silver dial incorporates a rotating centre disc for the date, an unusual feature for early Souscription watches.

The movement of No. 444 (ca. 1779). Image – The Art of Breguet by George Daniels

Housed in a 62 mm gold guilloché case, No. 444’s cuvette bears the inscription “Inventée par Charles Oudin” alongside Breguet’s signature, further confirming Oudin’s involvement. Once part of the David Salomons collection, No. 444 stands among the earliest recorded portable timepieces featuring an EOT display, marking an essential step in the transition from astronomical tables to mechanical solar time indications.

Although later refinements improved readability and efficiency, No. 444 remains a key example of Breguet’s early attempts to reconcile solar variations in timekeeping. It also underscores Oudin’s influence, as his later work carried forward Breguet’s teachings.

From Experiment to Masterpiece – 1783 to 1790s

While No. 444 marked Breguet’s first recorded attempt at integrating an EOT indication, it remained an isolated experiment. It was only in the years that followed, beginning around 1783, that Breguet began developing a coherent mechanical approach to the complication, one that would reach full maturity in a series of extraordinary timepieces.

Breguet No. 92 (c. 1783-1785)

Four years after the inaugural No. 444, Breguet began work on two exceptional timepieces, No. 92 and No. 160, marking his first fully developed executions of the EOT complication.

No. 92, commissioned in 1783 by the Duc de Praslin, a patron of horology and member of the distinguished Choiseul-Praslin family, features a double-sided construction.

As a double-sided display watch, the recto side presents the primary timekeeping functions alongside a perpetual calendar with three retrograde indicators and an EOT indication on a subsidiary display.

Breguet No. 92, front and back. Image – Musée des Arts et Métiers, Paris

The verso side features a chased gold dial, incorporating a moon phase, a power reserve indicator, and regulators for both sonnerie speed and timekeeping adjustment. The movement is powered by a lever escapement, a compensated balance wheel, and a balance spring with a terminal curve, ensuring both precision and stability.

Breguet No. 160 (c. 1783)

Unlike No. 92’s double-sided design, No. 160 features a rock crystal dial, exposing its intricate mechanics. An enamel dial was also provided. Announced as the most advanced timepiece of its era, with no restrictions on cost or time, it incorporated every known complication.

The transparent dial integrates EOT, perpetual calendar, thermometer, and state-of-winding indicator. The EOT mechanisms in both watches introduced the subsidiary display indication driven by the cam and lever system that calculated the difference between mean and solar time.

Breguet No. 160. Image – L.A. Mayer Museum for Islamic Art, Jerusalem

While No. 92 employs separate retrograde indications for the day, date, and months, making it functionally rich despite its double-sided configuration, No. 160 refines these concepts further in a single-dial format. Beyond the EOT, No. 92 includes a ten-minute repeater on a bell and a minute repeater on a gong, while No. 160 incorporates a more complex chain-driven system. Another shared attribute is the independent seconds, a rare feature at the time, highlighting Breguet’s focus on precision and scientific horology.

Breguet No. 160. Image – L.A. Mayer Museum for Islamic Art, Jerusalem

The French Revolution of 1789 disrupted the completion of both watches. No. 92 was eventually finished and sold in 1805 for 4,800 francs to the Duc de Praslin, a devoted patron of Breguet. No. 160, however, remained unfinished until 1827, long after Breguet’s death, when his successors completed the watch.

Sir David Salomons, a British horological scholar and collector, played a key role in preserving Breguet’s legacy, publishing influential works on the brand. He later acquired both No. 92 and No. 160, ensuring their survival and historical documentation.

Breguet No. 160 in profile. Image – L.A. Mayer Museum for Islamic Art, Jerusalem

No. 92 ultimately entered the collection of the Musée des Arts et Métiers in Paris, while No. 160 followed a different path. On May 3, 1917, Salomons first noticed No. 160 displayed in the window of Louis Albert Desoutter’s shop near Regent Street. Fascinated by its complexity, he researched its provenance before acquiring it. Upon his passing, it was inherited by his wife. It later became part of the collection of his great-niece, Vera Salomons, who housed it at the L.A. Mayer Institute for Islamic Art in Jerusalem.

The reverse of No. 160. Image – L.A. Mayer Museum for Islamic Art, Jerusalem

Curiously, both watches fell victim to theft. No. 92 was stolen from the Musée des Arts et Métiers in Paris but was later recovered when the thief attempted to have it repaired. No. 160 was taken in the notorious 1983 burglary in Jerusalem, along with the storied Breguet “Marie Antoinette”, vanishing for over two decades before being recovered in 2007.

Breguet No. 217 (c. 1790s)

Building upon this groundwork, Breguet continued refining his approach to the EOT complication, integrating it into sophisticated mechanisms. Nearly a decade after work began on No. 92 and No. 160, he adapted these principles to a self-winding design, resulting in No. 217, known as the “Havas perpetuelle” after one of its former owners, the founder of the eponymous news agency.

Breguet No 217 (ca. 1790s). Image – Christie’s

One of only two known perpetuelle watches with an EOT function, alongside the legendary No. 160 Marie Antoinette, this timepiece merges self-winding technology, an EOT display, and a perpetual calendar into a single, highly refined mechanism, securing its place as a landmark in horology.

Sold in 1800 to General Jean Victor Marie Moreau for 3,600 francs, it was later returned to Breguet after Moreau’s death in 1813. General Moreau (1763–1813) played a key role in Napoleon’s rise to power but later fell out of favour, leading to his exile to the United States in 1804. He returned to Europe in 1813, joining the Russian army against Napoleon, only to be mortally wounded at the Battle of Dresden.

Refurbished and resold on December 31, 1817, to Charles-Louis Havas (1783–1858) for 4,800 francs, the watch resurfaced over a century later, achieving US$3.3 million at Christie’s Geneva in 2016. Havas, the second owner, was a banker and publisher who founded Agence Havas in 1835, the world’s first news agency and the precursor to Reuters and Agence France-Presse, better known today as AFP.

Breguet No 217 (ca. 1790s). Image – Christie’s

No. 217 is a self-winding Perpetuelle featuring a quarter repeater à toc, which taps the case to indicate the nearest quarter-hour. Its EOT display graduated from +15 to -15 minutes, operates via a cam-driven system linked to the month calendar wheel for continuous solar time correction. The perpetual calendar integrates a subsidiary seconds dial with the month indication alongside a date aperture signalled by a gold arrow pointer. A 60-hour power reserve indicator ensures reliable operation.

Breguet No 217 movement with EOT cam visible (ca. 1790s). Image – Christie’s

The engine-turned silver dial features Roman numerals, outer dot minute divisions, and gold Breguet hands, with subsidiary displays for the power reserve and EOT indications. The movement incorporates a jewelled lever escapement, a four-arm compensated balance wheel with platinum adjusting weights, and a blued steel helical balance spring.

A platinum oscillating weight drives the winding system, safeguarded by Breguet’s parachute shock protection. Encased in 18K gold with a 55 mm diameter, the watch bears the signature “Breguet et Fils” on the dial and “Breguet No. 217” engraved on the movement plate.

Divergent Designs: Mechanically Distinct EOT Watches – 1794–1817

Breguet No. 1 (c. 1794)

At the turn of the 19th century, Breguet’s pursuit of mechanical innovation extended beyond escapements and power management to increasingly sophisticated mechanisms, particularly in the refinement of the EOT complication evident in No. 1 of Series 2 and No. 1226.

The Breguet No. 1 of Series 2 marked an evolution in his EOT designs by integrating this function alongside a full calendar. Although initiated before 1794, the watch was completed only in 1819.

Housed in a 63 mm case, it features secondes d’un coup, a jumping seconds mechanism that enhances timekeeping precision. Its Earnshaw spring detent escapement, combined with a three-armed compensation balance and parachute suspension, optimises both accuracy and shock resistance. A helical steel balance spring with terminal curves further improves isochronism, while a reversed fusee and chain regulate power delivery, ensuring stable performance over extended use.

Breguet No. 1, 2nd series (ca. 1794). Image – The Art of Breguet, George Daniels.

The white enamel dial prioritises clarity, featuring a subsidiary seconds display at the bottom, the date on the left, and the EOT on the right. A month aperture at twelve o’clock and a date hand pivoted at ten o’clock complete the calendar indications.

Notably, this was the first instance where the EOT hand, positioned at two o’clock, was driven by a substantially sized negative cam mounted on the annually revolving calendar wheel. The lever and its feeler traced the inside of the cam’s profile, transmitting precise equation corrections. This layout streamlined the display of three complications, date, month, and equation, but increased the watch’s thickness, limiting its suitability for later adaptations.

Dial side view of movement of Breguet No. 1, 2nd series (ca. 1794) and its oversized negative EOT cam. Image – The Art of Breguet, George Daniels

Levers at the edge of the movement allows for manual adjustment of the month wheel and equation, as well as stopping the central seconds hand. While the date hand advances automatically, it halts on the thirtieth day, requiring a manual reset to the first via a designated lever.

Movement view of Breguet No. 1, 2nd series (ca. 1794). Image – The Art of Breguet, George Daniels

Despite its unconventional design, No. 1’s equation system exemplifies Breguet’s approach to balancing innovation with legibility. Subsequent adaptations refined its functionality, allowing for greater flexibility in case dimensions and dial configurations. This iterative development is evident in No. 1226, which, though completed later, was sold two years before No.  1.

Breguet No. 1226 (c. 1817)

Completed in 1817, No. 1226 is a timepiece that displays both mean and solar time on separate dials, an exceptionally rare feature among Breguet watches if we exclude the Fatton inking chronographs.

Retaining the negative cam-and-lever system introduced in No. 1, this watch returns to a conventional-sized format, albeit with a fixed cam, while applying the equation of time indication to a centrally positioned hand on the reverse dial. However, in the accompanying image, the EOT hand is incorrectly displaced relative to the calendar hand’s position. It should accompany the calendar hand, deviating positively or negatively by a maximum of 15 minutes throughout the year.

Breguet No 1226 (ca. 1817). Image – Museu Medeiros e Almeida, Lisbon

The watch is housed in a gold case approximately 60 mm in diameter, featuring finely executed engine-turning. The front gold engine-turned dial displays hours, minutes, and seconds, along with a 36-hour power reserve indication. The reverse platinum dial incorporates a highly detailed calendar system, including indicators for the months, moon phase, day of the week, and date, as well as an EOT scale with a gold sun-adorned serpentine hand.

Breguet No 1226 (ca. 1817). Image – Museu Medeiros e Almeida, Lisbon

At its core, No. 1226 is regulated by a double-wheel Robin escapement, a hybrid system that combines elements of lever and detent escapements. The movement features a three-arm compensation balance, a spiral steel balance spring with a terminal curve, and a parachute suspension system. Additionally, the watch is equipped with a quarter-repeating function with a dumb mechanism, producing softer chimes for discreet use.

Breguet No 1226 (ca. 1817) movement, dial side, with the fixed negative EOT cam at its centre. Image – Museu Medeiros e Almeida, Lisbon

Breguet No. 1226 was purchased by Jean-Andoche Junot around the time he assumed command of the Napoleonic French forces in Portugal, where his early victories earned him the title of Duc d’Abrantes. However, after falling from favour, Junot died in 1813 from injuries sustained in a suicide attempt. His widow, Laure, known for her political manoeuvring and nicknamed “Petite Peste” by Napoleon, later sought the return of the Bourbons, possibly funding her efforts through the sale of the watch, an act unlikely to have pleased the ex-Jacobin Breguet.

The next known owner was William Noel Hill, Baron Berwick of Attingham, a British diplomat and close associate of General Rowland Hill, who later passed it to Arthur Wellesley, 1st Duke of Wellington. This transfer could have taken place after the withdrawal of the army of occupation in 1818, when Hill served as Wellington’s second-in-command, or in 1842 when Wellington succeeded him as General Commanding-in-Chief.

Eventually, No. 1226 entered the collection of the Portuguese collector Medeiros e Almeida in 1964 when he acquired it at auction for a then-record sum of £27,500 (approximately US$700,000 today). It is now housed at the Museu Medeiros e Almeida, where it remains a key piece in the institution’s horological collection.

Refinement and Standardisation: The Evolution of Subsidiary EOT Displays – 1827–1836

Following Breguet’s death in 1823, his workshop, under the direction of Antoine-Louis Breguet, continued refining the equation of time indication, preserving the principles and precision that had defined his legacy.

This period saw all EOT watches with subsidiary indications adopting the display at six o’clock, solidifying a design approach that would become increasingly standardised. The timepieces in this category, spanning from 1827 to 1836, exemplify not only advancements in mechanical execution but also the diversification of Breguet’s clientele, extending from aristocrats and industrial magnates to European monarchs.

Breguet No. 4214 (c. 1827)

No. 4214, sold in 1827 to Captain Richard Seymour-Conway, 4th Marquess of Hertford, for 7,800 francs, represents a key evolution in Breguet’s approach to the equation of time. The gold engine-turned case, measuring 41 mm, is decorated with an intricate map of France, covered in translucent enamel and encircled by a laurel wreath, underscoring its aristocratic ownership.

Breguet No. 4214 (ca. 1827) Half-Quarter Repeater, 7.5 minutes

This watch integrates a half-quarter repeating mechanism and an EOT display into a compact yet highly functional design. The movement incorporates a jewelled lever escapement, a compensation balance with parachute suspension, and a spiral steel balance spring with a terminal curve and regulator—features that reinforce both precision and resilience.

The silver dial features an eccentric chapter ring with Roman numerals, a jumping hour hand and symmetrically arranged subdials, one for the months on the right and one for seconds on the left. Additional apertures display the day of the week, the date, and the moon’s age and phase at the centre. A power reserve indicator sits above the main display, while the equation of time scale is positioned below.

Breguet No 4214 (ca. 1827). Image – Breguet (1747-1823) by Sir David Salomons

The equation function operates via an annual rotating cam that regulates a pivoted lever, translating the variation in solar time into the movement of the equation hand along the display scale. This allowed the wearer to manually adjust time according to a sundial, compensating for the natural fluctuations between mean and solar time throughout the year.

Breguet No. 4308 (c. 1827)

Sold in 1827 to King George IV for 9,650 francs, No. 4308 stands apart as a rare example of a half-quarter repeating montre à tact with an EOT display. This design allowed the wearer to determine the time either visually or by touch, a feature that had been an important element of Breguet’s montres de souscription since the late 18th century.

Breguet No. 4308 (ca. 1827) Half-Quarter Repeating Montre à Tact

The outer, engine-turned gold case features touch pieces and a revolving tact hand, while the inner case houses a sliding mechanism that activates the repeater.

Breguet No 4308 (ca. 1827). Image – Watches & Clocks in the Sir David Salomons Collection, George Daniels & Ohannes Markarian

The silver, engine-turned dial includes an eccentric chapter ring with Roman numerals, subsidiary dials for seconds, days of the week, and months of the year, and apertures for the date and regulator. Below the main dial, a finely calibrated equation of time scale enables precise solar time adjustments. The movement employs a lever escapement, a compensation balance with parachute suspension, and a spiral balance spring with a terminal curve and regulator.

Breguet No 4308 (ca. 1827). Image – Watches & Clocks in the Sir David Salomons Collection, George Daniels & Ohannes Markarian

No 4308, movement, dial side, with EOT cam engraved with the months of the year visible on the right @ Watches & Clocks in the Sir David Salomons Collection, George Daniels & Ohannes Markarian.

King George IV’s patronage further underscores Breguet’s prominence among European royalty, while the watch’s later inclusion in Sir David Lionel Salomons’ collection highlights its enduring historical significance.

Breguet No. 3832 (c. 1828)

No. 3832, delivered in 1828 to Comte d’Archinto for 8,000 francs, represents a refinement in both precision and presentation.

The watch is housed in a 53 mm double-case design with an à tact hand and touch pieces on the outer case, allowing time to be read by feel. The inner case features a slide that activates the half-quarter repeater mechanism, which chimes hours, quarters, and an additional strike at the half-quarter interval.

Breguet No. 3832 (ca. 1828) Half-Quarter Repeater with Calendar and À Tact Feature. Image – Christies

Breguet No 3832 (ca. 1828). Image – Christies

The engine-turned silver dial is arranged for optimal readability, featuring an eccentric mean time chapter ring, a serpentine equation hand positioned on the EOT sector, and subsidiary dials for months and days of the week.

The EOT mechanism relies on a cam-and-lever system, with a pivoted lever tracking the cam’s profile and transmitting the correction via a rack and pinion system to the equation hand. The addition of a full calendar alongside the EOT display reflects the increasing focus on astronomical precision during this period.

The movement includes a jewelled lever escapement and a compensated balance, ensuring stability across temperature variations.

Breguet No. 4254 (c. 1828)

Watch No. 4254, sold in 1828, represents another advancement in EOT integration within a half-quarter repeating format. This watch maintains the same fundamental principles as No. 4214 but introduces refinements in mechanical efficiency and dial legibility. The equation indication, regulated by an annual cam, provides a real-time correction that is easily readable, allowing the wearer to apply the necessary adjustment for solar time.

Breguet No. 4254 (ca. 1828) Half-Quarter Repeater. Image – Breguet (1747-1823) by Sir David Salomons

The gold case features an eccentric chapter ring with subsidiary dials for seconds, the month, and a calibrated sector for the EOT. Additional apertures display the day of the week, the age and phase of the moon, and the date of the month. The repeater mechanism chimes the nearest 7.5-minute interval with clarity, reinforcing its dual function as both an astronomical instrument and a practical timepiece.

Breguet No. 4290 (c. 1829)

No. 4290, sold in 1829, marks one of Breguet’s early forays into ultra-thin designs incorporating an EOT complication.

While few details are available regarding its movement architecture, the watch is known to integrate an EOT display in a highly refined layout, optimising space efficiency while maintaining accuracy. This model serves as a precursor to later ultra-thin equation watches, balancing mechanical sophistication with elegant proportions.

Breguet No. 4290 (1829) Ultra-Thin Equation of Time Watch. Image – Musée national suisse

Breguet No. 4290 (1829) Ultra-Thin Equation of Time Watch. Image – Musée national suisse

Breguet No. 4691 (c. 1831)

Sold in 1831 to Lord Henry Seymour Conway for 7,000 francs, No. 4691 represents Breguet’s most advanced ultra-thin equation of time execution. With a case thickness of just 7.7 mm, it embodies a remarkable synthesis of horological complexity and elegant proportions.

Breguet No 4691 (ca. 1831) prior to its restoration. Image – Sotheby’s

The movement is built on garde-temps principles, featuring a gilt brass lever escapement, a compensation balance with parachute suspension, and a spiral balance spring with a regulator for fine timekeeping precision.

Breguet No 4691 (ca. 1831). Image – Breguet

The guilloché silver dial is arranged for intuitive readability, featuring an off-centre mean time display with Roman numerals, subsidiary seconds dial at 9 o’clock, a month indicator at 3 o’clock, and apertures for the day and date. The EOT display, positioned between 5 and 7 o’clock, is marked with a blued steel serpentine hand featuring a gold sun motif. A moon phase display appears above 12 o’clock, while a power reserve indicator is positioned at the bottom. The watch was later acquired by the Breguet Museum in 2013 for US$1.1 million.

Breguet No 4691 (ca. 1831). Image – Breguet

Breguet No. 4517 (c. 1836)

No. 4517, sold in 1836 to Anatoly Demidoff, 1st Prince of San Donato, for 4,000 francs, is an exceptional ultra-thin pocket watch that refines Breguet’s equation of time execution within an elegant and highly compact case. Later part of the Belmont House Collection, it integrates an EOT display, temperature Gauge, moon phase, and annual calendar while maintaining mechanical precision in a remarkably slim form.

No. 4517 (ca. 1836) Ultra-Thin EOT with Moon Phase & Calendar. Image – Belmont House Collection

The engine-turned silver dial features a highly legible layout, with the EOT indication positioned below the main display, ensuring that the correction remains intuitive to read. The movement is built on chronometer principles, incorporating a lever escapement, compensation balance, and parachute suspension. This watch serves as one of the final refinements of the subsidiary EOT display in Breguet’s pocket watches.

The Running Equation: Differential Gearing in Breguet’s EOT Watches – 1805-1814

Breguet’s advancements in horology marked a pivotal shift from mechanically distinct EOT displays to the running EOT mechanism, a breakthrough in precision timekeeping. Early EOT pocket watches relied on discrete mechanical systems, such as cam-and-lever mechanisms, to indicate the difference between mean and true solar time. These designs required a manual calculation, with the wearer referencing a subsidiary display to determine meantime relative to solar time.

Breguet’s ingenuity, however, led to the application and development of the then-already-known running EOT system, where the equation correction was dynamically integrated into the motion work, allowing the displayed time to continuously account for solar variation without requiring user calculation.

By incorporating differential gearing and disengaging mechanisms, these watches applied solar time corrections in real-time, refining astronomical timekeeping while minimising operational friction and improving mechanical efficiency. Today, the running EOT system still represents a pinnacle of technical sophistication, blending horology’s artistic heritage with functional advancements that cater to both scientific precision and practical usability.

Among the most significant examples of Breguet’s innovation in this field are No. 1348, No. 1416, No. 2614, and No. 3862. Each represents a distinct phase in the evolution of differential running EOT systems, exploring variations in disengaging mechanisms, complex calendar integration, and adaptations tailored to the needs of the watchmaker’s international clientele.

Breguet No. 1348 (c. 1805)

Breguet No 1348 (ca 1805) running EOT with disengaging mechanism. Image – Antiquorum

Breguet No. 1348, produced in 1805 and sold to Messrs. Meyer and Tues, introduced a disengaging mechanism designed to minimise wear while ensuring precise solar time adjustments, engaging only once per hour. This innovation reduced unnecessary strain on the movement while maintaining the accuracy of the equation correction.

Breguet No 1348 (ca 1805) running EOT with disengaging mechanism. Image – Antiquorum

The watch also features a dual calendar system, accommodating both the Gregorian and Julian calendars, alongside a sectoral EOT display indicated by a serpentine Breguet hand. Housed in a 62 mm gold case signed by Guillaume Mermillod, No. 1348 remains a significant early example of Breguet’s advancements in disengaging EOT mechanisms.

Breguet No. 1416 (c. 1812)

Breguet No 1416 (ca 1812) running EOT with Half-Quarter Repeater. Image – Sothebys

Breguet No. 1416, produced in 1812 and sold to Prince Antoine de Bourbon, took a similar approach to EOT correction by integrating a half-quarter repeater with a dual-hand display. Instead of relying on a subsidiary dial, the watch employs two minute hands, one for meantime and the other for solar time, allowing for instantaneous visual comparison.

The equation correction is dynamically adjusted via an annual wheel system, and the repeater mechanism, chiming at 7.5-minute intervals, further enhances the watch’s usability, providing both visual and auditory means of tracking time. Now part of the Belmont House Collection, No. 1416 exemplifies an advanced execution of real-time equation correction in a dual-hand configuration.

Breguet No. 2614 (c. 1814)

Breguet No 2614 (ca 1814) Montre Turque with running EOT. Image – The Art of Breguet, George Daniels

Breguet No. 2614, produced in 1814, is one of the rare Montre Turque EOT pocket watches specifically crafted for the Ottoman market. No. 2614 integrates a differential gear system that continuously adjusts for solar time variations in real time, ensuring seamless accuracy.

Breguet No 2614 (ca 1814) Montre Turque with running EOT. Image – The Art of Breguet, George Daniels

Beyond its advanced equation function, the watch incorporates an annual calendar and a lunar display, with a subsidiary dial referencing both Islamic and European calendars, highlighting its dual-purpose design.

Breguet No 2614 (ca 1814) Montre Turque with running EOT. Image – The Art of Breguet, George Daniels

The dial, signed in Turkish script and featuring Ottoman numerals, reflects Breguet’s adaptability to international clientele, demonstrating his ability to tailor complex horology to the specific cultural and technical requirements of different regions.

Dual-Time Clarity: Watches with Separate Solar and Mean Time Dials – 1817-1829

Breguet’s development of the equation of time complication evolved towards greater clarity and mechanical efficiency. Unlike earlier models that employed a concentric running equation hand, this group of watches introduced dual-display designs, separating mean and solar time and applying the differential principle to calculate and display the equation correction. This refinement resulted in a series of significant timepieces that include Nos. 2807 (1817), 3832 (1828), 3862 (1821/24), 3863 (1824), 4111 (1827) and 4112 (1829). Though unified by their astronomical function, each represents a distinct approach to balancing complexity, legibility, and mechanical ingenuity.

Breguet No. 2807 (c. 1817)

Breguet No. 2807 (ca. 1817) EOT on differential with optimized energy efficiency. Image – Antiquorum

Sold in 1817 to Russian General Alexis Petrovich Yermoloff, Breguet No. 2807 introduced a new differential-based EOT mechanism aimed at reducing mechanical strain and optimising energy efficiency. Instead of maintaining continuous engagement with the train, its equation function activates only once every two hours, minimising friction while ensuring precise solar time adjustments. This mechanism operates via a specialised double-wheel and double rack-and-pinion differential system, governed by an equation cam mounted at the centre of the annual wheel, allowing seamless calculation of the discrepancy between mean and true solar time.

Housed in a 53 mm gilt brass case, the movement features a going barrel and a straight-line calibrated lever escapement, ensuring stable timekeeping performance. The dial, crafted by Louis Tavernier (1754–1840), presents a well-balanced layout with separate sub-dials for true solar time and mean time, complemented by complications such as moon phases and a date aperture. Tavernier’s father, Jean-Pierre (1714–1795), had already published a work entitled Table de différence du temps vrai au temps moyen in 1754, reinforcing the family’s deep engagement with astronomical timekeeping.

Breguet No. 3862 (c. 1821-1824)

Breguet No. 3862 (ca. 1821/24) EOT on differential, completed only in the 1960s. Image – Maison Breguet

Breguet No. 3862, started between 1821 and 1824 but left unfinished until its completion in the 1960s, further refined the differential-based approach by integrating a perpetual calendar system. Designed to complete one annual rotation, its equation cam interacts with the differential gearing to continuously adjust the solar time display, ensuring precise and automatic equation corrections throughout the year.

Breguet No. 3862 (ca. 1821/24) EOT on differential, completed only in the 1960s. Image – Maison Breguet

The movement is gilt-finished, featuring a straight-line lever escapement with 21 jewels, a bimetallic compensation balance with straight parachutes on both pivots, a spiral steel spring with a terminal curve, and a steel regulator with a gold index.

The silvered engine-turned dial presents two symmetrical sub-dials: the left displays solar time with Arabic numerals and an applied gold sun symbol above 12 o’clock. At the same time, the right indicates mean time with Roman numerals and an applied gold star symbol. An outer ring is calibrated for the annual calendar, indicated by a central blued steel serpentine hand. Additionally, the watch features a small subsidiary seconds dial, a weekday window, and a fan-shaped aperture displaying moon phases and the lunar calendar.

The case, crafted from 18K gold with an engine-turned finish, measures 61 mm in diameter and includes a numbered and signed gold cuvette. The movement remained incomplete until the mid-20th century, when it was finished with a newly designed dial, moon disc, hands, and case. It is now part of the Montres Breguet collection.

Breguet No. 3863 (c. 1824)

Breguet No. 3863 (ca 1824) EOT on differential à tact. Image –  The Art of Breguet, George Daniels

By 1824, Breguet had further refined the differential EOT system with No. 3863. The silver engine-turned dial of this watch features a sweep centre date hand and two subsidiary dials, with solar time on the left and meantime on the right. Above and separating both dials is a subsidiary seconds indication. Below, two apertures display the moon’s age and phase alongside the day of the week indicated by its first letter. The engine-turned case incorporates an à tact hand on the back and touch pieces along the edge.

Breguet No. 3863 (ca 1824) EOT on differential à tact. Image –  The Art of Breguet, George Daniels

Mechanically, No. 3863 employs a lever escapement, a two-armed compensation balance, a spiral steel spring with a terminal curve and regulator, and Breguet’s signature parachute suspension system for shock absorption. Its EOT mechanism adjusts both the hour and minute hands of the solar time display with minimal resistance, using a double spring-loaded wheel connected via two pivoted racks and a pinion for precise adjustments.

Breguet No. 3863 (ca 1824) EOT on differential à tact. Image –  The Art of Breguet, George Daniels

Breguet No. 4111 (c. 1827)

Breguet No. 4111 (1827) EOT with Half-Quarter Repeater, 7.5 min. Image – Christies

No. 4111, produced in 1827, represents an ultra-thin execution of the differential EOT complication with a dual-dial system. Originally sold to Mr Peyronnet before being resold in 1834 to Count Charles de l’Espine, the watch features a half-quarter repeater that chimes every 7.5 minutes, enhancing its practical utility as an astronomical timepiece. As previous models in this category, it arranges separate off-centre subdials, solar time on the left and meantime on the right, allowing for an intuitive reading of the equation correction.

Built on chronometer principles, its movement incorporates a lever escapement, a compensation balance, and a parachute suspension system for enhanced shock resistance, ensuring reliability despite its slim proportions.

Breguet No. 4112 (c. 1829)

Breguet No. 4112 (1829) EOT with Half-Quarter Repeater, 7.5 min. Image – Watches & Clocks in the Sir David Salomons Collection, George Daniels & Ohannes Markarian

Building upon this lineage, No. 4112 was introduced in 1829, integrating the advancements of its predecessors while also incorporating a half-quarter repeater. Sold to Mr Goding for 8,128 francs, this watch not only displayed the difference between solar and mean time but also made it audible through a striking mechanism that chimed every 7.5 minutes.

Breguet No. 4112 (1829) EOT with Half-Quarter Repeater, 7.5 min. Image – Watches & Clocks in the Sir David Salomons Collection, George Daniels & Ohannes Markarian

Housed in a 56 mm gold engine-turned case, it features a crystal cuvette, offering a clear view of the movement. A centrally placed equation cam governs solar time corrections through a precise lever mechanism. At the same time, additional complications include a leap year cycle, an age and phase of the moon display, and a fast/slow regulation indicator at 6 o’clock.

Breguet No. 4112 (1829) EOT with Half-Quarter Repeater, 7.5 min. Image – Watches & Clocks in the Sir David Salomons Collection, George Daniels & Ohannes Markarian

Conclusion

Breguet’s EOT watches mark a significant chapter in the development of mechanical horology, showcasing his ability to tackle complex astronomical indications with clarity and ingenuity. He treated such complications as serious technical challenges, integrating them into functional instruments that served both scientific and practical purposes.

These creations reflect the maturity of late 18th- and early 19th-century watchmaking, and they helped establish mechanical solutions to celestial problems as a legitimate pursuit within the field. The influence of these pieces remains visible in modern horology, where the equation of time continues to be explored as a mark of technical refinement and historical awareness.

Breguet’s contribution thus stands as a benchmark in watchmaking—where intellectual rigour, mechanical skill, and purpose-driven design converged to advance the discipline.

Sources and Bibliography

Primary sources

● Breguet Official Website:
○ For information on Breguet’s history, innovations, and some watch models. (www.breguet.com)
● Musée du Louvre, Paris:
○ For access to Breguet timepieces and related historical documents.
● Musée des Arts et Métiers, Paris:
○ For information and images of Breguet No. 92.
● L.A. Mayer Museum for Islamic Art, Jerusalem:
○ For information and images of Breguet No. 160.
● Museu Medeiros e Almeida, Lisbon:
○ For information and images of Breguet No. 1226.
● Christie’s Auction House:
○ For auction records and images of Breguet No. 217 and No. 4111.
● Antiquorum Auctioneers:
○ For information and images of Breguet No. 2807.
● Montres Breguet S.A. Collection:
○ For information and images of Breguet No. 3862.
● Sir David Salomons Collection:
○ Historical documentation and information about the watches within this collection.

Secondary sources

● Daniels, George. The Art of Breguet. London: Sotheby Parke Bernet Publications, 1975.
○ Essential for information on many of the Breguet watches discussed.
● Engel, Thomas. A.L. Breguet, Watchmaker of Kings. London: Sotheby’s Publications, 1994.
○ Provides detailed historical context and analysis of Breguet’s work.
● Clutton, Cecil, and George Daniels. Watches. London: B.T. Batsford Ltd., 1965.
○ A classic horological reference with information on Breguet.
● Daniels, George, and Ohannes Markarian. Watches & Clocks in the Sir David Salomons Collection. London: Sotheby’s Publications, 1980.
○ Provides information about the watches that were once owned by Sir David Salomons.

Following the Classique Souscription, and Tradition Seconde Rétrograde, Breguet continues its 250th anniversary roll-out by turning to its signature pilot’s watch.

The Type XX Chronographe 2075BH debuts in two variants in “Breguet gold”: a regular production with a black aluminium dial and a 250-piece limited edition with a sterling silver dial. Both are handsome and stay mostly true to the model’s heritage thanks to faithful sizing and a manually-wound movement.

The regular production with a black aluminium dial (left), and sterling silver dial of the limited edition

Initial Thoughts

The new Type XX ticks many of the boxes from an enthusiast’s perspective with its compact dial and concise dial that does without a date and hour totalizer – both welcome reductions to the first-generation design.

That said, the Breguet gold case is limiting due to the price. A stainless steel case would’ve been even more appreciated, though that will probably arrive in due time.

While the cal. 7278/7279 in the new Type XX is technically excellent – like most Breguet calibres – the thoroughly modern construction doesn’t complement the vintage-inspired design. Adapting the cal. 582 used in the 1990s Type XX might have been more interesting due to its lateral clutch construction and increasingly rare cam-control system, though the cal. 7278/7279 reads better on a spec sheet with its vertical clutch.

And to preserve the vintage feel, a solid, hand-engraved case back might’ve been a better option than the engraved movement, which feels little much for what is ostensibly a pilot’s watch.

Neither watch is affordable at US$43,500 for the black dial and $45,200 for the silver dial, but the pricing is reasonable compared to precious metal chronographs from comparable high-end brands, reflecting the brand’s generally competitive pricing.

Case and Dial

The case is 38.3 mm in diameter, exactly the same as the rare “civilian” Type XX in 18k gold from 1955. Appropriately enough, the modern-day watch is in “Breguet Gold”, the brand’s proprietary yellow gold alloy, just like the other 250th anniversary models. It retains the familiar Type 20 design with blended “lyre” lugs, pump pushers, an oversized crown, and a slim rotating bezel.

One of the rare few Type XXs in gold

Two dials are available, both sharing the same case.

One is for the regular production model, a black aluminium dial that supposed to reference the aluminium-bodied aircraft of Louis Breguet – an aviator entrepreneur who as Abraham-Louis Breguet’s great-great-grandson. The aluminium dial is paired with an extra-legible, oversized 15-minute totalizer, nicknamed “Big Eye”, and fully lumed, including the 15-minute counter.

The second is for the 250 piece limited edition, a dial in solid silver is more accurate to the original 1955 watch, though it looks more modern with its colour and markings that includes an italicised “retour en vol” over six o’clock. The silver dial only has lumed hands and a conventional 30-minute counter at three.

Movement

The regular production Type XX is powered by the cal. 7279, while the limited edition is equipped with the cal. 7278, with the sole difference being the minute counter. The movements are part of a family of high-beat, vertical clutch fly-back chronograph movements shared between the increasingly integrated Breguet and Blancpain brands.

The cal. 7278/7279 its an impressive movement on paper, with a silicon hairspring and silicon components in the escapement. The 5 Hz beat rate is also much appreciated in a chronograph, even if 2.5 Hz would have been more apt thematically given the vintage inspiration of the watch.

In this manually wound iteration, the movement is only 6 mm thick, about half a millimeter slimmer than you’d find in a Rolex Daytona, though the case still ends up over 13 mm in height – which is thick for a manual-wind chronograph.

Much of that height can be blamed on the vintage bubble-like sapphire crystal and overly tall hand stack. The domed crystal, however, does add to the vintage appeal of the watch.

Visually, the calibre is not a particularly interesting as most of the chronograph works are obscured by a plate.

However, the monolithic plate has been used as a canvas for a hand-engraved depiction of the Breguet 19 airplane designed by Louis Breguet, which also helps the watch feel “special” enough to be a 250th anniversary piece.

Key facts and price

Breguet Type XX Chronograph
Ref. 2075BH/99/398

Diameter: 38.3 mm
Height: 13.2 mm
Material: 18k “Breguet gold”
Crystal: Sapphire
Water resistance: 50 m

Dial: Black aluminum

Movement: Cal. 7279
Functions: Hours, minutes, seconds, and fly-back chronograph
Winding: Manual
Power reserve: 60 hours

Strap: Interchangeable, gradient blue calfskin and 18K Breguet gold pin buckle

Limited edition: No
Availability: Now at Breguet boutiques and retailers
Price: CHF36,500

Breguet Type XX Chronographe Limited Edition
Ref. 2075BH/G9/398

Diameter: 38.3 mm
Height: 13.2 mm
Material: 18k “Breguet gold”
Crystal: Sapphire
Water resistance: 50 m

Dial: Solid silver

Movement: Cal. 7278
Functions: Hours, minutes, seconds, and fly-back chronograph
Winding: Manual
Power reserve: 60 hours

Strap: Interchangeable, gradient blue calfskin and 18K Breguet gold pin buckle

Limited edition: 250 pieces
Availability: Now at Breguet boutiques and retailers
Price: CHF38,000

For more, visit breguet.com

While the invention of the spiral hairspring by Christiaan Huygens in 1675 kickstarted a revolution in terms of portable precision timekeeping, the concept was far from fully developed. It was arguably only with the later invention of the overcoil hairspring that the ideal oscillator in portable watches emerged.

For many years horologists — theoreticians and artisans alike — worked to perfect the balance-hairspring assembly to optimise its performance, notably in terms of isochronism. True isochronism became a sort of holy grail for watchmakers all around the world, who all sought to ameliorate the inherent quirks of the sprung oscillator.

The recent Breguet Soucription features an overcoil hairspring of non-magnetic Nivachron alloy

The need for end curves

The quest for isochronism was a true challenge for horologists. Isochronism is the ability of the balance-hairspring assembly the have the same period of oscillation for small and large amplitudes alike. In other words, the balance oscillation takes the same period of time regardless of the degree travelled.

This is very important, since a balance usually swings with high amplitude with a fully wound mainspring and then runs at progressively smaller amplitude as the barrel unwinds. As a timepiece is required to keep good time regardless of  its winding state, an oscillator whose period is independent from its amplitude is needed. (Another solution to this is to optimise the energy delivery from the mainspring with a constant force mechanism, which is another topic entirely.)

Huygens’ drawing of an early hairspring embodiment

The balance-hairspring model is theoretically isochronous — but only on paper with ideal conditions assumed. In practice friction and slight equilibrium defects can disrupt the oscillator’s ideal running, making the timepiece’s accuracy dependent on the state of winding. 

A large issue that was noticed early by watchmakers was the uneven development of the hairspring. This happens due to a geometrical constraint of the system, with the fixed outer pinning point not allowing the hairspring to “breathe” concentrically. We explained this a little more in our piece on the Ulysse Nardin Freak and the development of the silicon hairspring. 

The uneven development of the hairspring harms the oscillator in two distinct ways: the eccentric movement of the coils displaces the spring’s center of gravity away from the balance’s axis, creating a disequilibrium and the uneven development strains the pivots because the coils apply unwanted side pressure to the axle. 

The displacement in the centre of gravity was found to be negligible, since it tends to virtually cancel out during two alternations — so the net centre of gravity vector displacement over one full oscillation is not really a concern. 

The torque directed onto the pivots however is the larger issue, since the pivots themselves distribute that force into their jewels, increasing friction and creating wear patterns in time. This pressure can’t be cancelled out and the generated friction force actively disrupts the oscillator’s isochronism.

A logical solution to this would be to force the hairspring to develop concentrically so that the residual couple applied to the inner pinning point — thus to the pivots — would be as close to zero as possible. This is where end curves come into play.

An overcool in the Lange Zeitwerk L043.3

A short history of end curves

As early as the 17th century a French watchmaker by the name of Gourdain used a sort of courbes tâtées  — literally “touched” (or more accurately, “corrected”) curves. Empirically formed by the artisan, these curves seemed to improve the balance spring’s “breathing”.

A great breakthrough later came from John Arnold (1736-1799) who shaped the ends of his cylindrical hairsprings into sharp inward curves connecting the spring ends to the balance collet and the upper bridge pinning point respectively. 

Modern cylindrical hairspring in a Moser tourbillon

Abraham-Louis Breguet (1747-1823), a friend of Arnold’s, borrowed from his work and adapted the Englishman’s end curves to flat balance springs — giving birth to the Breguet overcoil. The talented watchmaker noticed that raising the last coil of the hairspring into a plane parallel to the other coils and curving it slightly towards the outer pinning point made the spring “breathe” concentrically. 

Edouard Phillips

These early overcoils were empirically shaped by watchmakers, who adjusted and bent the curve as they saw fit after observing how the timepiece performed over a period of time. There was no rigorous theory involved in forming the end curves and watchmakers didn’t have a definitive explanation for how and why the method worked. 

This is where the French engineer and mathematician Edouard Phillips (1821-1889) stepped in and assembled a rigorous mathematical theory of end curves — which still stands as a reference today. 

By trade Phillips was a “mine engineer” who focused on material and structure sciences. He developed his own theories on blade springs of different geometries and the torques they could provide. During his lifetime he was chair of mechanics at the prestigious École Polytechnique and a member of the Académie des sciences. 

During the latter part of his life, Phillips dedicated himself to the study of horology, more precisely to the study of the hairspring — a particular embodiment of a blade spring, after all. In 1860 he published a groundbreaking paper, Mémoire sur le spiral réglant des chronomètres et des montres, where he studied the behaviour of an end curve. Phillips concludes by giving some rules for shaping an ideal hairspring, which are now known as “Phillips conditions”. 

Extract from E. Phillips’ “Mémoire sur le spiral réglant des chronomètres et des montres”

The outer end curve

In his paper Phillips started out by assuming the uneven development of coils exerts some torque on the pivots. Then he started out mathematically exploring what would cancel out that unwanted torque. 

Through a lengthly process involving integral calculus, he applied his own theories of elasticity to the hairspring model and came up with a method of keeping the spring’s coils centred on the balance’s axis. The conditions he found gave birth to the Phillips end curve — a perfected overcoil which reduces the lateral pivot pressure to the point of virtually canceling it out.

The Phillips conditions for overcoils can be summed up in a few words and a short mathematical expression:

The centre of gravity of the terminal curve has to be placed on a radius perpendicular to the line joining the spiral’s centre of gravity and the point where the curve breaks off from the spiral. The distance of the curve’s centre of gravity to the spiral’s centre of gravity needs to be equal to the spiral’s radius squared, divided by the length of the end curve. 

The concept might seem complicated but is straightforward enough to implement in real hairsprings. The figure below may be more suggestive for grasping the proportions. The starting point of the overcoil A is coincident with axis Ox. The gravity centre G of the end curve sits perpendicular to that axis, on Oy.

Interestingly, Phillips’ condition doesn’t mandate any sort of particular geometry of the overcoil; as long as the equation is satisfied the end curve can take on any shape. This explains why different brands and watchmakers use slightly different overcoil geometries. Phillips also noticed that the overcoils were more effective for larger hairsprings. 

Common shapes of overcoils

One of the simplest types of overcoils (which satisfies Phillips’ equation) is the circle arc end curve. The plain shape breaks off from the spiral and arches towards the pinning point. The curve is uniform and circular while the arc it describes is fairly short. Below is figure by L. Defossez, detailing the particular geometry of such a curve. 

Overcoil made of one circle arc. Image – L. Defossez

Other overcoils are made of two circle arcs of different radiuses, giving the final curve an elongated shape. Some movements with a spring regulator use this geometry, as the second arc’s centre coincides with the spring’s centre and a traditional raquette can be employed.

Overcoil made of two circe arcs with different radiuses. Image – L. Defossez

An early 20th century Patek Philippe pocket watch movement with a classic high-end chronometer hairspring set up

Today most brands use a simpler geometry, that of two circle arcs linked by a straight segment. Compared to the purely circular end curve, this shape is easier to bend. Variations of this geometry can be seen in industrially manufactured movements from the likes of Rolex or IWC. 

Overcoil model with two circle arcs joined by a segment. Image – L. Defossez

The MB&F LM QP movement sports a very prominent overcoil

Straight terminal curve which satisfies Phillips’ condition. While theoretically sound, such an overcoil was never used to the author’s knowledge. Image – L. Defossez

The inner (or Grossmann) curve

Edouard Phillips based his studies on helical springs, which would feature two symmetrical curves, one joining the outer pinning point and the other the inner pinning point. This model does not fit entirely with flat springs, which have different diameters for their outer and inner ends. 

Voutilainen tourbillon movement with a hairspring featuring an inner Grossmann curve.

While overcoils may counteract most of the uneven development of the hairspring, reducing the side pressure on the pivot, some argue the innermost coils of the spiral have their own destructive effect as they unwind against the collet. 

The collet is the piece which joins the hairspring with the balance staff. Of circular shape, the collet has its own interactions with the inner coils of the hairsprings, which can exert some side pressures that the overcoil can’t cancel out. 

Jules Grossmann, a respected regleur from Le Locle, found Phillips’ discoveries consistent with his own extensive experience and observations adjusting overcoils. While he recognised the utility of calculus, he could not truly comprehend nor entirely follow Phillips’ methods. The subject stated with him nevertheless. 

Even in chronometers using theoretically perfect overcoils, Grossmann still noticed some running differences between horizontal positions — issue which he addressed by enunciating a set of attach point rules. These rules concern how many full turns a hairspring has and where the inner pinning point sits, relative to the outer pinning point. 

Grossmann also learnt at some point calculus all by himself, using available courses and books on the subject. Using his newly-acquired knowledge, Grossmann adapted Phillips’ theory on the inner end of flat hairsprings, creating the inner — or Grossmann — curve. This adjustment of the inner spiral seeks to cancel out any side pressure from the innermost coils of the hairspring.

Edouard Phillips eventually payed a visit to Jules Grossmann in Le Locle in 1871. The two horologists remained in contact until Phillips’ death in 1889. In his latter years Grossmann wrote an extensive, 450-page volume about precision watch regulation, Théorie du reglage. 

The practical utility of the inner curve is still debatable. George Daniels suggests in Watchmaking that “due to the difficulty of forming so small a curve accurately the results are uncertain”. He is indeed right, as Grossmann inner curves are very difficult to execute, requiring the hand of a highly skilled watchmaker.

Hairspring with both an outer Phillips overcoil and inner Grossmann curve. Image – L. Defossez

Inner curves are a rare find, with Voutilainen being one (if not the only) watchmaker to employ Grossmann curves consistently across his movements. The Vingt-8 series of calibers comes with a large balance, complete with a hairspring with both a Phillips overcoil and Grossmann inner curve. 

Makers using silicon hairsprings also seem to implement a kind of inner curve, which is easy to obtain with an etching process that can accommodate any kind of planar geometry. 

The Voutilainen Vingt-8 balance

Conclusions

The subject of overcoils and terminal curves remains a quite a fascinating topic for horologists. While the first solid theory of overcoils is over 160 years old, new technologies make way for novel end curve types which were inconceivable during Phillips’ time. De Bethune employs a proprietary hairspring, made of two separate pieces, one for the spiral and the other for the flat end coil. De Bethune claims the device performs as well as classic overcoils.

Manufacturers of silicon hairsprings have been employing specialised terminal curves since the beginning. While their approach is different from the likes of Edouard Phillips or Jules Grossmann, today’s engineers are experimenting with intricate geometries and new materials in crafting isochronous springs with little effort. The downside of these advancements is that traditional hand adjusting of end curves is becoming an increasingly rarer skill. 

Breguet got off to a good start for its 250th anniversary with the Classique Souscription, which despite being not an entirely new model in technical terms, is arguably the best watch the brand has launched in years, perhaps reflecting the influence of a new chief executive.

Powered by a calibre based on the longstanding Tradition movement, the one-handed Classique Souscription marries an atypical (for Breguet) 20th century case with a dial inspired by 19th century pocket watches – resulting in a surprisingly coherent creation that still feels quintessentially Breguet.

Initial thoughts

I was pleasantly surprised by the Classique Souscription. Breguet managed to take a familiar model and transform it into something different and appealing. The brand didn’t manage to do the same with the second anniversary model, which is essentially a rehash of the Tradition but with an enamel dial.

Sized just right, the Classique Souscription feels like it was conceived by an enthusiast with knowledge of vintage watches; the red leather-covered presentation box underlines that. The design is simple overall, but enhanced with details like a sharply finished single hand and “secret signature” engraved the old fashion way.

The form of the case is clearly early to mid 20th century, while the dial evokes the original Souscription pocket watch. Although the case and dial styles are 150 years apart, they complement each other almost perfectly; the result still looks very much like a Breguet.

The watch is executed well, inside and out, as illustrated by the form and finish of the single blued steel hand. The quality of make is also evident on the movement. While it’s not doubt decorated by machine in some aspects – as is the norm for a large, established brand – it also shows off hand finishing in some details. The overall effect is pleasing.

The movement also stands out despite being 20 years old. It’s still an original, interesting construction. While there are newer calibres with better specs on the market, they lack the novel layout of this movement. And the independents who offer elaborate time-only watches tend to employ movements based on tried and tested architecture, with the ETA Unitas 6497/6498 and Peseux 7001 being especially popular.

The only element of the watch I do not like, however, is in the movement. It’s the engraved text on the barrel cover that reproduces Abraham-Louis Breguet’s writings. It feels gimmicky and looks like a mismatched modern detail in an otherwise historically inspired calibre.

Priced a little under US$50,000, the Classique Souscription isn’t inexpensive but priced fairly considering the unique movement construction and high quality execution, especially today where the overall market is at a high. A comparable watch from a haute horlogerie brand, like Patek Philippe or Vacheron Constantin, would probably cost more. Incidentally, the Classique Souscription costs almost exactly the same as the Zenith G.F.J. with the revived cal. 135 that was also just launched this year.

If a newcomer independent watchmaker unveiled exactly the same thing, it would be twice as expensive but an easy sell – a fact that reflects the unfortunate relative weakness of the Breguet brand today.

Very classique

The Souscription is tidily sized at 40 mm by 10.8 mm. It’s small enough to feel a little vintage, as this case design should, but large enough for modern conventions. The flat crown is an especially nice detail that chimes with the retro style. And most importantly, it feels good on the wrist.

The case design departs from the conventional Breguet style of a fluted band and straight lugs. Instead it has a vintage style that is pretty generic for the mid 20th century, but historically correct as Breguet made watches like this during that period.

As is expected for Breguet, the case is done well. Admittedly it’s simpler in form than the usual fluted style, but it’s as good as it gets for this form. The one bit of decoration is the guilloche around the rim of the case band, a wavy pattern known as “Quai de l’Horloge” that was developed for the anniverary models.

Like the case, the dial is also simple, but it carries more detail.

The dial is fired enamel, white and domed, as it should be in order to replicate the look of the souscription pocket watch of the late 18th and early 19th centuries, which was the closest thing to a mass-produced watch that A.-L. Breguet made. The markings are all printed, but the “secret signature” just above six o’clock is engraved with a manual pantograph, essentially a hand-operated milling machine, just like how it was done in A.-L. Breguet’s time.

The single hour hand is a particularly pleasing detail, though it is not especially functional since it only indicates the time approximately, to the closest five minutes more or less.

Also modelled on the souscription pocket watch, the single hand is blued steel, with chamfered edges and a mirrored countersink for the hub. Notably, the hand sits on a cannon pinion with a large, obvious square profile, again echoing the pocket watch.

Tradition mechanics

The VS00 movement is probably the least novel aspect of the watch. It is clearly based on the manual-wind calibre found in the original Tradition model of 2005, but modified in several ways, most obviously to relocate the hands to the front (which was the back on the 2005 model).

The base plate is hand engraved with the brand name and serial number, while the rest of the movement engraving is done by machine

Repeating the theme of the watch, the architecture is based on the souscription pocket watch. It has the same symmetrical layout that exposes most of the moving parts. The calibre is beautiful and ranks amongst the most distinctive 21st century movements constructed.

Even the technical details of the pocket watch movement are replicated, including the pare-chute shock absorber for the balance staff and the curved spokes of the gears. The balance wheel, however, is clearly modern, and might just be in titanium, while its regulating weights are gold.

The finishing of the movement lives up to expectations. Many of the finer details appear to have been finished by hand, including the chamfered spokes of the wheels and bevelling on the finger cocks. The steel spring of the pare-chute is a good example of fine steel work. But the engraving on the barrel cover is too much decoration; I would happily forgo this.

Concluding thoughts

The Classique Souscription proves several points: Breguet can make an interesting, appealing watch without actually doing that much; the Breguet aesthetic is strong yet versatile enough to accommodate a newish look like this; and Breguet still makes high quality high horology despite its industrially minded parent. It’s a good start to the 250th anniversary and I hope the brand keeps up the momentum.

Key facts and price

Breguet Classique Souscription 2025
Ref. 2025BH/28/9W6

Diameter: 40 mm
Height: 10.8 mm
Material: 18k “Breguet” gold
Crystal: Sapphire
Water resistance: 30 m

Movement: VS00
Functions: Hours
Winding: Manual wind
Frequency: 21,600 beats per hour (3 Hz)
Power reserve: 96 hours

Strap: Alligator strap with pin buckle

Limited edition: No
Availability: First availability at boutiques, but also at retailers
Price: US$48,700; CHF45,000

For more information, visit Breguet.com.

Having already revealed the Tradition “Souscription” as the first watch for its 250th anniversary, Breguet has just launched the Tradition Seconde Rétrograde 7035. Essentially a throwback to a first-generation Tradition model, the new 7035 is set apart by its flinque enamel dial, a first for the Tradition collection. And unlike the regular-production Souscription, the Tradition Seconde Rétrograde is limited to 250 pieces.

Initial thoughts

While the Classique Souscription is eminently traditional (despite its case style), the Tradition Seconde Rétrograde feels more traditional Breguet with a style that is more typical of the brand’s current offerings. The enamel dial is a good way of rebooting the Tradition, which is now two decades old. And the watch itself is beautiful and still Breguet in style.

However, this is arguably less interesting than the Souscription, because its only point of difference is the grand feu enamel dial for the time. Dial aside, it’s basically the preceding model in new dress.

Breguet does have more in store for its 250th anniversary than a pair of Tradition models, so it’ll be worth keeping an eye on the brand as the year progresses.

Tradition throwback

The new Tradition is a variant of one of the first models in the collection, but upgraded with an enamel dial. The solid gold dial is decorated in flinque enamel, which is fired translucent enamel over engine turning in the Quai de l’Horloge pattern, which was developed for Breguet’s 250th anniversary.

While the pattern is new(ish), it’s executed in the traditional manner on a hand-operated rose engine.

The rest of the watch is more familiar. The case is in 18k Breguet gold, a proprietary yellow gold allow, and measures 38 mm by 12.6 mm. It features the fluted band and straight lugs that define Breguet’s wristwatches.

The cal. 505SR inside is also mechanically identical to past self-winding Tradition models. The calibre is similar to that found in the manual-wind Tradition, but sports a hammer-shaped rotor inspired by the perpétuelle system, an early automatic mechanism invented by Abraham-Louis Breguet. The rotor is in brushed platinum to match the straight grained finish on the bridges.

Key facts and price

Breguet Tradition Seconde Rétrograde
Ref. 7035BH/H2/9V6

Diameter: 38 mm
Height: 12.6 mm
Material: 18k “Breguet” gold
Crystal: Sapphire
Water resistance: 30 m

Movement: Cal. 505SR
Functions: Hours, minutes, and retrograde seconds
Winding: Automatic
Frequency: 21,600 beats per hour (3 Hz)
Power reserve: 50 hours

Strap: Alligator strap with pin buckle

Limited edition: 250 pieces
Availability: First availability at boutiques, but also at retailers
Price: US$51,200

For more information, visit Breguet.com.

In a surprising turn of events, the Breguet Sympathique no. 1 has been acquired by its primary creator, Francois-Paul Journe, for the princely sum of CHF5.51 million including fees (equivalent to US$6.61 million). Notably, Sympathique no. 1 sold for almost as much as the Sympathique made for the Duc d’Orléans.

Completed in 1991 for the Art of Breguet thematic auction, the clock was completed in 1991 by Techniques Horlogères Appliquées (THA), a complications workshop founded by Mr Journe, who also recruited Denis Flageollet and clockmaker Dominic Mouret. And now it will soon become one of the key exhibits in the upcoming F.P. Journe Museum, which will be located near its manufacture in downtown Geneva.

Determined bidding

The impressive result for the clock exceeded most expectations, including mine. I had expected a result in the region of CHF2.5 million. And in a bit of intrigue before the auction, F.P. Journe sent out an announcement to its clients before the auction stating that it would not repair or service Sympathique no. 1; the buyer of the clock would have to go to Breguet.

Getting to the hammer price was not difficult, illustrating the strength of the F.P. Journe name today. While there were a handful of bidders under the million-franc mark, it was eventually down to a gentleman in the room and Mr Journe himself.

Past the CHF2 million mark it then turned into a contest between a phone bidder represented by Alex Ghotbi and Mr Journe. Bidding proceeded at a steady clip, and Mr Journe won the clock for CHF4.5 million, which translates into a total of CHF5,505,000 with fees.

This spring, one of the most important horological creations of the late twentieth century returns to public view. As part of The Geneva Watch Auction: XXI taking place on May 10 and 11, Phillips will offer the Breguet Sympathique No. 1, the first of twenty exceptional clocks commissioned by Breguet in the early 1990s. The primary creator of this landmark clock was none other than Francois-Paul Journe, then a young watchmaker.

Completed in 1991 for the Art of Breguet exhibition, No. 1 is not just the prototype of the modern Sympathique series, it is its most ambitious. The example, paired with a tourbillon wristwatch, is equipped with a constant-force remontoir and moonphase display. In retrospect, it reads as a mechanical manifesto, foreshadowing Journe’s later independent work. More than a highlight of its upcoming sale, No. 1 represents a rare continuation of one of watchmaking’s great inventions, a direct link to Abraham-Louis Breguet himself.

Detail of Sympathique no. 1

Of Breguet’s many breakthroughs, from the tourbillon to the pare-chute, none captured the marriage of mechanical brilliance and poetic vision quite like the Pendule Sympathique. Designed to wind, set, and regulate a paired watch automatically, it embodied a new kind of horological harmony: a master timekeeper caring for its portable counterpart.

The calendar on Sympathique no. 1

By the late 20th century, these clocks had become near-mythical. Only a handful were ever built, most housed in royal collections or museum holdings. Admired for their elegance and ingenuity, they had not been seriously revived, until Francois-Paul Journe. Initially commissioned by Asprey to create a modern version, Journe reimagined the Sympathique beyond just a reproduction, but as a refined evolution. The result was a new expression of Breguet’s idea, realised with contemporary mechanics and signature precision.

Now, after more than 30 years in private hands, Sympathique No. 1 resurfaces. It is a bridge between centuries, from Breguet’s pioneering work of 1795 to its 1991 resurrection by one of modern horology’s most respected independent minds.

Significance in Horological History

Sketch of the hand-setting mechanism actioned by the Sympathique. Image – Maison Breguet

Few inventions in the history of watchmaking have left such a deep imprint on both the imagination of collectors and the development of horological thinking as Breguet’s pendule sympathique. Conceived in the final years of the eighteenth century, it was not just a technical achievement but a redefinition of what a timekeeping object could be.

Breguet envisioned something far beyond the standard clock or watch: a closed mechanical ecosystem in which a master clock could not only indicate the time but automatically maintain the performance of a paired watch, winding, setting, and in its most advanced form, regulating it to a higher standard of accuracy.

In an era when even the finest pocket watches required daily winding and frequent resetting, the notion of a self-correcting system, one timekeeper caring for another, bordered on the fantastical. This concept of mechanical symbiosis is anticipated not just by later horological developments but also by future conversations around automation, precision, and interconnectivity. And though the mechanism itself was extraordinarily complex, Breguet’s idea was conceptually clear: perfection maintained not by constant human intervention, but by design.

To his contemporaries, the effect was theatrical as much as functional. At a predetermined hour each night, the clock would silently engage with its companion watch, adjust the hands, fine-tune the rate and, in its most sophisticated expressions, wind the mainspring. This daily ritual, hidden within an elegant mantel clock, was at once a feat of engineering and a performance of mastery.

The hand engraved solid gold case of Sympathique no. 1

It was no surprise that such objects became the domain of monarchs and ministers. Napoleon arranged for one to be gifted to Sultan Mahmud II of the Ottoman Empire; George IV of Britain installed his in Carlton House; and multiple examples entered the palaces of the Russian and Spanish courts. These were not commercial products, nor could they have been: they were mechanical tributes to science and status, built for the uppermost tier of society.

Yet even beyond their clientele, the Sympathique clocks became artefacts of philosophy, expressions of Enlightenment confidence in the power of reason and craft. Breguet had already changed the landscape of horology with the tourbillon and the pare-chute shock absorber; with the Sympathique, he changed how horologists could think.

George Daniels famously described the Sympathique as “misplaced ingenuity,” but his remark, intended partly in jest, acknowledged that the clock’s true purpose was wonder. These were not tools of everyday life; they were statements about what mechanical timekeeping might aspire to.

And yet, tellingly, while Breguet’s successors did continue to produce Sympathique clocks, most notably the extraordinary No. 128 for the Duc d’Orléans in 1836, no other maker outside the Breguet atelier attempted to recreate the system for over a century. The concept remained bound to the maison that conceived it, carried forward by artisans who had inherited its logic directly.

Only in the late twentieth century did François-Paul Journe, working first through a pair of Asprey commissions and later under contract with Breguet, undertake a true reinvention of the Sympathique principle. That this revival required years of experimentation and one of the finest modern minds in horology is perhaps the clearest measure of how advanced and how singular Breguet’s original vision had been.

Today, thirteen Sympathique clocks are known with certainty, a possible fourteenth remains debated. Most are housed in the world’s great collections, the British Museum, the Royal Collection, the Topkapı Palace, the Breguet Museum in Paris, and each is admired not only for its mechanical intricacy but for the idea it represents: that time, properly understood, could be measured, corrected, and refined by machines alone.

That belief, ambitious, poetic, and exquisitely challenging to realise, is what makes the Sympathique more than a clock. It is Breguet’s most complete vision of horological perfection.

The cylindrical hairspring in Sympathique no. 1

Royal and Notable Owners

The history of the Pendule Sympathique is inseparable from the history of its owners. From its earliest days, the Sympathique clock was not merely a technical triumph but an object destined for royalty, empire, and the highest circles of European nobility. Its cost, its complexity, and above all its symbolic weight ensured that each example entered a world of palaces, diplomatic gifts, and personal collections that reflected both power and taste.

The Spanish Bourbon court was among the first to embrace Breguet’s mechanical innovations. In 1796, Queen María Luisa of Spain commissioned “la péndola que pone el Relox a la hora”, the clock that sets the time of the watch, leading to the creation of Sympathique No. 46, delivered in 1799 and likely placed in the Royal Palace of Aranjuez. This was the earliest confirmed Sympathique delivered by Breguet, marking the start of a lasting relationship with the Spanish crown.

Political upheaval soon followed. With the abdication of Charles IV and Joseph Bonaparte’s rise to the throne in 1808, No. 421/3, originally meant for the Bourbons, was delivered to the new regime. After the Bourbon restoration in 1814, a third Sympathique, No. 247, entered the collection under Ferdinand VII. Each clock mirrors a different chapter in Spanish political life: enlightened monarchy, Napoleonic rule, and royal restoration. Though largely unseen today, Nos. 46 and 247 are believed to be held in the Spanish Patrimonio Nacional.

Czar Nicholas I, portrait by Georg von Bothmann, 1855. Image – Wikipedia

No dynasty acquired more Sympathique clocks than the Romanovs. Emperor Alexander I of Russia became one of Breguet’s most prominent clients, acquiring Sympathique No. 423 in 1809 and No. 757 in 1810. Likely housed in the imperial palaces of St. Petersburg, both clocks reflected the Russian court’s enthusiasm for horology as a symbol of scientific and political progress.

In 1830, Prince Anatole Demidoff commissioned No. 430 with watch No. 2787. Adorned with enamel panels, the clock was gifted to Tsar Nicholas I and later passed to Grand Duke Mikhail. Known as la sympathie de midi for resetting its watch precisely at noon, it remains one of the best-documented examples. The final link came in 1875, when Grand Duke Konstantin Nikolaevich received No. 222, the last known original Sympathique. Its late commission underscores the lasting imperial reverence for Breguet’s mechanical artistry.

In 1812, as France worked to strengthen ties with the Ottoman Empire, Sultan Mahmud II received Sympathique No. 758 as a diplomatic gift from the French government. Delivered through the embassy, the clock was part of a broader campaign of cultural diplomacy. Unlike other surviving Sympathiques, No. 758 was tailored for its recipient. Contemporary records and photos confirm its Ottoman-specific design: enamel landscape inlays, Turkish numerals, and a silver guilloché dial. Though the original watch (No. 407) is lost, the clock survives in the Topkapı Palace Museum in Istanbul, the only known Sympathique housed outside Europe. Its presence there reflects horology’s role in diplomacy and cultural exchange.

The British monarchy’s connection to Breguet began with King George III, who acquired some of the watchmaker’s finest pieces, including an early tourbillon. This legacy continued with the Prince Regent, later George IV, who in 1814 purchased Sympathique No. 666 and its companion watch No. 507. Housed in a plain mahogany case, the clock was installed at Carlton House and praised as “probably the most complicated clock in the world.” A passionate patron of science and design, George IV’s ownership reflected both personal taste and Britain’s embrace of technical elegance. Today, No. 666 remains in the Royal Collection, fully preserved and exhibited as a highlight of the monarchy’s horological heritage.

Ferdinand Philippe, Duke of Orléans, portrait by Ingres, 1842. Image – Wikipedia

Among all Sympathique owners, none commissioned a piece as complex or artistically ambitious as Ferdinand Philippe, Duke of Orléans. In 1836, he ordered Sympathique No. 128, the only completed Type C example from Breguet’s original production, capable of winding, setting, and regulating watch No. 5009. Its Empire-style case by Guillaume Denière and advanced mechanism reflected the Duke’s taste for technical artistry. Installed at the Pavillon de Marsan in Paris, No. 128 would later break auction records twice, confirming its status as the most renowned Sympathique ever made.

By 1845, Breguet’s clientele had broadened beyond royal courts to include the rising financial elite. Edward Baring, later Baron Revelstoke, acquired Sympathique No. 257, a clock that maintained the system’s core functions while omitting the ornate flourishes of earlier royal commissions. More restrained in design, No. 257 marked a shift in the Sympathique’s role: from a courtly symbol of power to a prized object of private connoisseurship in a new era of capitalist collecting.

No account of the Sympathique’s royal history is complete without Napoleon. Though he never owned one, his influence runs through their story. His brother Joseph received No. 421/3 as King of Spain; his government arranged the gifting of No. 758 to the Sultan of the Ottoman Empire; and relatives like Queen Hortense were regular Breguet clients. While not a patron himself, Napoleon’s imperial reach helped spread the Sympathique across three continents.

Design and Mechanism: The Evolution of the Sympathique

Setting and regulating of watch No. 2787 associated with clock No. 430 (page 352). Image – George Daniels in “The Art of Breguet”

The evolution of the pendule sympathique from its origins in the 1790s to the final examples of the nineteenth century reflects Abraham-Louis Breguet’s relentless ingenuity and the changing tastes and expectations of his clientele. What began as an austere exercise in mechanical autonomy, a clock that could automatically correct a paired watch, gradually developed into one of the most complex and symbolically resonant artefacts of horological art.

At the core of the Sympathique lay a radical idea: a stationary clock would act as caretaker to a portable watch, performing a sequence of corrections at a predetermined hour. The system would automatically set the hands of the watch, wind its mainspring, and, in its most advanced iterations, fine-tune its rate. This closed, nightly cycle of recalibration anticipated the principles of automated synchronisation long before radio signals, GPS, or digital regulation emerged. The concept was ambitious; the execution, extraordinary.

Regulating pawls on watch No. 2787 associated with clock No. 430 (page 353). Image – George Daniels in “The Art of Breguet”

Breguet’s earliest Sympathiques were defined by functional restraint. These clocks typically displayed only hours, minutes, and sometimes seconds, while their most remarkable feature, automatic hand-setting, remained hidden. A prime example is No. 666, delivered in 1814 to the Prince Regent of Britain. Housed in a mahogany case of plain design, it concealed a constant-force escapement and the essential mechanism that allowed the clock to detect and realign the hands of a specially prepared watch. These early models, later designated Type A, focused on synchronisation alone. At a set time, typically in the early morning, the clock’s linkage engaged the watch’s setting squares, adjusted the minute hand, and restarted the movement, all without user intervention.

Although Breguet described in 1798 a system that would also wind the watch, the integration of this function remained unrealised during the earliest phase of production. It was only under the direction of his son, Antoine-Louis Breguet, that the Sympathique evolved into what would later be known as Type B. By the 1830s, a second generation of clocks incorporated automatic winding via a gear train driven by the striking barrel. This train connected to a vertical arbour aligned with the watch’s winding square. Once the mainspring was fully tensioned, a disengaging mechanism within the watch prevented overwinding. These refinements signalled a shift in ambition: the Sympathique was no longer simply correcting time, but actively maintaining power.

Setting and winding system controlled by the clock (page 357). Image – George Daniels in “The Art of Breguet”

The apex of this evolution came with the creation of Sympathique No. 128, completed in 1836 and sold to Ferdinand Philippe, Duc d’Orléans. This extraordinary ensemble, the only example of what has been termed Type C delivered to a client, achieved full tri-functionality: setting, winding, and regulation. In this final step, the parent clock not only powered and aligned the watch but also adjusted its rate by moving the regulator arm linked to the watch’s balance spring. The sequence was triggered by a shaped cam and lever mechanism that activated precisely at 3:00 a.m., performing a mechanical ballet of engagement, correction, and withdrawal. It was one of the earliest documented mechanical feedback systems in horology, and remains unmatched for elegance and ingenuity.

Such mechanical sophistication required equally rigorous safeguards. Breguet devised intricate locking systems to ensure that the docked watch was perfectly seated before activation. His patented parachute shock protection shielded the balance from mechanical trauma during docking. Internally, the clocks were equipped with high-grade escapements, often constant-force or dead-beat, that preserved their superior rate, ensuring the parent instrument remained an unerring reference for the child.

Stop work system in the watch (page 360). Image – George Daniels in “The Art of Breguet”

The aesthetic evolution of the Sympathique ran in parallel with its mechanical advances. Early clocks favoured functional austerity: mahogany and plain gilt bronze cases, simple classical lines, and silvered dials with guilloché centres. As Breguet’s clientele shifted from Enlightenment monarchs to Restoration and July Monarchy aristocrats, the external design became more ornate. The Duc d’Orléans’ clock, No. 128, exemplifies this transformation: its Empire-style case in red tortoiseshell and brass boulle marquetry was framed by gilded bronzes and crowned with his monogram. It merged the theatricality of courtly display with the logic of technical mastery.

This diversification of form was not purely decorative. Between 1800 and 1830, Breguet produced Sympathiques in multiple formats, from travel-sized pendules de voyage to monumental mantel clocks suited for palatial display. Materials included rosewood, enamel, rock crystal, and tortoiseshell; dials ranged from plain enamel to those featuring complications such as full calendars, moonphases, or equation of time. In the case of No. 128, the certificate of sale even described it as a pendule sympathique à quantième de mois, signalling the addition of a monthly calendar function.

Though the number of Sympathiques completed was small, fewer than fourteen across more than seventy years, each reveals something about the ambitions of its time. By 1875, the final known numbered example, No. 222, was delivered to Grand Duke Konstantin of Russia. Though executed under Breguet’s successors, it preserved the core principles laid out in the 1790s. That the concept endured so long, and in so pure a form, is a testament to its extraordinary clarity.

Louis Raby and the Realisation of the Sympathique Mechanism

Pocket Watch No. 10360, 2365 by Louis Raby. Image – Morphy Auctions

Behind every major horological breakthrough stands not only the visionary but also the craftsman who brings the idea to life. For Breguet’s Pendule Sympathique, that figure was Louis Raby, one of Breguet’s most gifted and trusted collaborators. Trained within the atelier and celebrated during his lifetime as l’un de ses meilleurs ouvriers, Raby played a vital role in transforming the Sympathique from concept to working reality.

While little is known of Raby’s early life, he had, by the early 1800s, earned a place among Breguet’s top workmen. His contributions extended to many of the workshop’s most complex projects, but none more critically than the Sympathique. Though first demonstrated in 1798, the system’s true mechanical realisation required years of refinement, especially in developing a reliable setting and winding mechanism for the paired clock and watch.

By 1812, Raby had achieved a breakthrough. The clock now known as Sympathique No. 5 was the first to not only set a watch’s hands but also wind its mainspring. The clock was signed “Raby à Paris,” while the watch bore Breguet’s name, a rare division of credit and an explicit acknowledgement of Raby’s indispensable role.

Raby’s solution involved a dual-trigger system that set the hands and adjusted the rate via a regulating arm linked to the watch’s balance spring. The mechanism activated automatically, reportedly twice daily, synchronising the watch to the master clock with elegant mechanical precision. Though later Sympathiques would build on this, Raby had already laid the technical foundation.

After Breguet’s death in 1823, Raby opened his own workshop on the Boulevard des Italiens. He famously displayed a Sympathique clock in his window, drawing crowds with its self-setting, self-winding function. Among horologists of the time, Raby was seen not just as Breguet’s executor but as a creative mind in his own right.

Later named Horloger de l’Empereur under Napoleon III, Raby’s status was formally recognised, but it is his work on the Sympathique that defines his legacy. Without his ingenuity, Breguet’s vision might have remained a theoretical marvel. Instead, thanks to Raby, it became a functional expression of mechanical autonomy.

The Sympathique Clocks During Breguet’s Lifetime (1795–1823)

Across a span of nearly three decades, from the late 1790s until his death in 1823, Abraham-Louis Breguet would produce, or oversee the production of, the handful of Sympathique clocks that survive to this day. Their creation spanned the most fertile period of Breguet’s career, during which the Sympathique embodied not only his mastery of horology but also his role as an inventor. It is to these original examples, the clocks made within Breguet’s own lifetime and under his direct supervision, that the following section is dedicated. The history of the Sympathique after 1823, and its continuation under the Maison Breguet and later generations, forms a separate chapter in the story of these remarkable objects.

Sympathique No. 46 — Queen María Luisa of Spain
Delivered 1799 – Current Whereabouts Unknown

The earliest known Sympathique clock delivered by Abraham-Louis Breguet was No. 46, commissioned in 1796 by Queen María Luisa of Spain and completed in 1799. As the first confirmed example of Breguet’s most ambitious horological invention, it marks the beginning of the Sympathique’s documented history.

Commissioned during Breguet’s post-Revolution return to prominence, the clock appealed to the Spanish court’s appreciation for French precision and innovation. It reflected Enlightenment ideals, a machine that didn’t just tell time but automatically corrected a paired watch, embodying precision, convenience, and scientific elegance.

Portrait of Maria Luisa of Spain (1745-1792), Holy Roman Empress. Image – Wikipedia

No images or technical diagrams survive, but contemporary accounts confirm it included Breguet’s early system for automatic hand-setting and possibly rate regulation. Automatic winding was likely absent at this stage. Auction literature mentions an inscription noting it as the “first model of the constant-force escapement by Breguet,” suggesting it was technically advanced for its time.

Delivered during a politically turbulent period, No. 46 entered the Spanish royal collection just before the Bourbon monarchy was overthrown. Its fate remains unknown, but its legacy endures. It was the first realised expression of Breguet’s vision, a foundation upon which the entire Sympathique lineage would be built.

Sympathique No. 757 — Emperor Alexander I of Russia
Completed 1803; Sold 1810 – British Museum, London

Among the earliest Sympathique clocks completed by Abraham-Louis Breguet, No. 757 stands out for its technical ambition and complex afterlife. Completed in 1803 and sold in 1810 for 8,000 francs, it was delivered to the Russian Imperial Court under Emperor Alexander I, with pocket watch No. 528, via the intermediary Moreau.

Sympathique No. 757. Image – The British Museum

At the time of its completion, No. 757 represented a significant technical leap in Breguet’s development of the Sympathique, incorporating a constant-force escapement and twin spring-barrels to sustain precision over extended intervals, a clear expression of his growing commitment to mechanical autonomy and chronometric refinement.

Sympathique companion watch No. 528. Image – The British Museum

But No. 757 also reveals the fragility of such masterpieces. By the early 20th century, it had fallen into disrepair. Acquired around 1925 by London watchmaker Louis Desoutter from the Stauffer family, the clock was fragmentary, its original watch lost, and its setting mechanism degraded.

Desoutter attempted a restoration, replacing the twin barrels with larger spring housings to increase the clock’s running time from 36 hours to eight days, a practical, if controversial, alteration. He also reconstructed parts of the regulating mechanism and built a replacement watch to fit the cradle, though its fidelity to Breguet’s original remains uncertain.

View of Sympathique movement of No. 757. Image – George Daniels in “The Art of Breguet”

Desoutter’s death left the project unfinished. George Daniels later described the piece as a torso, partially restored but lacking the full integrity of the original concept. The clock was subsequently acquired by C.A. Ilbert, who preserved it without further intervention. In 1958, it entered the British Museum, where it remains today.

Sympathique No. 421/3 — Joseph Bonaparte / Charles V of Spain
Completed 1808; Watch c.1830 – Beyer Museum, Zürich

The first Sympathique clock recorded as delivered by Abraham-Louis Breguet was No. 46, completed in 1799 for Queen María Luisa of Spain. However, the earliest surviving and fully documented example is No. 421/3, now held at the Beyer Clock and Watch Museum in Zürich. Commissioned for Joseph Bonaparte, Napoleon’s elder brother and King of Spain from 1808 to 1813, this clock represents the transition from Breguet’s concept to working reality.

Sympathique No. 421/3. Image – Beyer Watch and Clock Museum, Zurich

Although first demonstrated publicly in 1798, the Sympathique system took years to perfect. Breguet later described it as one of his most complex technical challenges. Conceived around 1795 and delivered around 1808, No. 421/3 stands as a milestone in the pursuit of mechanical autonomy.

The clock’s design reflects Breguet’s early aesthetic: a rectangular mahogany case with glazed sides and discreet gilt bronze trim. Its silvered guilloché dial displays hours, minutes, and seconds, topped with a recessed cradle for a specially made pocket watch.

Once docked, the watch would be automatically set by the clock’s mechanism, typically at midnight or 3 a.m. The original watch is believed to have been added around 1830, and the set today includes a correctly configured Breguet watch that interfaces with the cradle.

Unlike later Sympathiques such as No. 5 or No. 128, No. 421/3 lacks automatic winding or rate regulation. Its sole function, precise nightly hand-setting, was itself a remarkable achievement for the time. To its owner, it offered both convenience and a sense of horological theatre.

Initially commissioned for Joseph Bonaparte, the clock was later associated with Charles V of Spain. Its eventual appearance at a 1994 auction and subsequent acquisition by the Beyer Museum in Zurich cemented its place as one of the most accessible and thoroughly documented Sympathiques in existence.

Sympathique No. 423/5 — Tsar Alexander I of Russia
Completed and Sold 1809 – Breguet Museum, Paris

The fourth Sympathique clock completed by Abraham-Louis Breguet is No. 423/5, commissioned by Tsar Alexander I of Russia and sold in 1809. Paired with watch No. 533, the ensemble reflected the growing maturity of the Sympathique concept and affirmed Breguet’s presence at the heart of Europe’s diplomatic and scientific elite.

By the early 1800s, Alexander I had become a key client of Breguet. The Russian court, with its appreciation for advanced instruments and deepening ties to Napoleonic France, proved a receptive audience for such mechanical expressions of innovation. The delivery of No. 423/5 reinforced that connection, preceding the more complex No. 757.

Sympathique No. 423/5. Image – Maison Breguet

Initially, the clock likely followed Breguet’s standard architectural mantel format: a mahogany case with glazed sides, restrained ormolu detailing, and a silvered guilloché dial indicating hours, minutes, and seconds. A recessed cradle atop the case housed the paired watch, specially adapted to receive the clock’s corrective functions.

Functionally, No. 423/5 performed two primary Sympathique operations: automatic hand-setting and rate regulation. Automatic winding had not yet been incorporated. The reset sequence was typically triggered during the night, aligning the portable watch to the clock’s superior timekeeping via a concealed mechanical linkage.

However, the clock has not survived intact. Only partial elements of the original movement and case were confirmed when it appeared at auction, and the paired watch is no longer extant. Despite its compromised state, No. 423/5 remains a historically important piece, documenting Breguet’s early efforts to synchronise portable and fixed timekeepers in a courtly context.

Sympathique No. 758 — Sultan Mahmud II of the Ottoman Empire
Delivered 1812 – Topkapı Palace Museum, Istanbul

In 1813, as France sought to reinforce ties with the Ottoman Empire, Breguet’s atelier delivered one of its most symbolically potent creations: Sympathique No. 758, a gift from the French government to Sultan Mahmud II. Valued at 35,000 francs, it was sold to the Ministry of Foreign Affairs and now resides in the Topkapı Palace Museum in Istanbul, one of the few Sympathique clocks still in its original royal collection.

The commission formed part of Napoleon’s broader campaign of cultural diplomacy. Appointed Breguet’s official patron, he recognised the symbolic power of precision instruments. For the reform-minded Mahmud II, deeply interested in Western science, the Sympathique was an ideal offering, a clock capable of correcting a paired watch automatically, embodying both prestige and modernity.

Sympathique No. 758. Image – Topkapı Palace Museum

No. 758 is richly adorned: a bronze case with enamel landscape inlays, precious stones, and a silvered guilloché dial bearing Turkish numerals and subsidiary seconds. Inside, a constant-force escapement ensured chronometric precision. Measuring 335 x 190 mm, the piece exemplified Ottoman appreciation for refined technical and artistic craftsmanship.

Originally paired with pocket watch No. 407, designed to dock on top of the clock for daily time correction, the ensemble is now incomplete, the watch lost. Archival references suggest it featured a silver dial, Turkish numerals, and blued Breguet hands, reflecting Ottoman tastes of the period. Like its contemporaries, No. 758 used Breguet’s perfected hand-setting mechanism, activated around 3:00 a.m., to align the watch’s time to the clock’s rate automatically. 

According to reports, Mahmud II was so impressed that he appointed Breguet’s representative in Constantinople to oversee the palace’s entire clock collection. This honour underscored Breguet’s international stature and the power of horology in diplomacy.

Sympathique No. 5 — Louis Raby’s Experimental Execution
Started 1812 – Possibly Unsold Prototype; Now in the Salomons Collection, Islamic Art Museum, Jerusalem

Within the lineage of Sympathique clocks developed by Abraham-Louis Breguet, No. 5 holds a unique place as an experimental milestone.

Sympathique No. 5. Image – Museum of Islamic Art, Jerusalem

Begun in 1812, it bears the imprint of Louis Raby’s ingenuity and represents the earliest known attempt to construct a Sympathique capable of setting, regulating, and winding a watch automatically.

Though these functions would only be perfected later in the Duc d’Orléans clock (No. 128), No. 5 marks the first operational step toward full mechanical autonomy.

Front side view of Sympathique movement of No. 5. Image – George Daniels in “The Art of Breguet”

Unlike the royal Sympathiques delivered to Spain, Russia, or the Ottoman Empire, No. 5 appears to have remained within Breguet’s workshop. Its precise role, prototype, demonstration piece, or in-house model, remains unclear, but its importance is unquestionable.

It is the first surviving example to attempt full integration of autonomous functions, reflecting Raby’s contributions during his tenure with Breguet. The clock movement, signed “Raby à Paris,” and its matching watch, signed “Breguet,” show a rare dual attribution, acknowledging Raby as a craftsman and as a co-creator.

Sympathique companion watch of No. 5. Image – George Daniels in “The Art of Breguet”

Its regulating system used a cam-driven mechanism to adjust the docked watch’s hands and fine-tune its rate via a balance-linked arm, an early feedback system allowing the portable watch to inherit the clock’s precision.

Even more notably, No. 5 introduced the first attempt at automatic winding in a Sympathique: a train powered by the striking barrel engaged a concealed arbour on the back of the watch. Sir David Salomons, who catalogued the piece, confirmed that both winding and setting functions operated effectively and called it a “complete system of mechanical autonomy.” Safety features prevented overwinding, underscoring Ray’s foresight.

Front and back view of the Sympathique companion watch movement of No. 5. Image – George Daniels in “The Art of Breguet”

Compact in scale, the clock stands just 15 cm tall, far smaller than the more theatrical royal commissions, and was likely designed as an internal study in mechanical refinement rather than display. Today, No. 5 resides in the L.A. Mayer Museum for Islamic Art in Jerusalem, part of the Salomons Collection. Its survival, alongside another Sympathique from the same collection, stands as a testament to the private preservation of Breguet’s most ambitious ideas during a time of waning institutional interest.

Sympathique No. 666 — Prince Regent (George IV of Britain)
Completed and Sold 1814 – Royal Collection, United Kingdom

Among the Sympathique clocks completed during Breguet’s lifetime, No. 666 exemplifies both continuity and innovation. It retained the system’s core functions, daily hand-setting and regulation, while introducing refinements such as a floating balance, gold helical hairspring, and improved remontoire. Rather than a fixed formula, the design reflects Breguet’s ongoing pursuit of precision.

Sympathique No. 666. Image – Royal Collection Trust, United Kingdom

Delivered in 1814 to the Prince Regent of Britain (later George IV), No. 666 is one of the best-documented Sympathiques from Breguet’s hand. Housed in a mahogany case and paired with watch No. 507, the clock was acquired for 11,500 francs, reflecting both its technical ambition and elite status. Displayed at Carlton House, it drew contemporary praise as “probably the most complicated clock in the world.”

Sympathique No. 666 companion watch. Image – Royal Collection Trust, United Kingdom

The clock followed Breguet’s perfected system of daily synchronisation: the user placed the watch in the cradle, the clock stopped the movement, adjusted the hands, and restarted it, aligning the portable timekeeper with the master clock. While No. 666 lacked a full automatic winding system, attempted earlier in No. 5 and perfected in No. 128, it advanced the setting mechanism with precision-focused upgrades, including a remontoire and refined escapement components.

The result was both functional and poetic: each morning, a passive watch emerged fully synchronised, the product of unseen mechanical harmony. Today, No. 666 remains in the Royal Collection Trust, preserved as a matched clock and watch, a rarity, and exhibited in modern times, including George IV: Art & Spectacle, where its mechanical and diplomatic importance was prominently celebrated.

Sympathique No. 247 — King Ferdinand VII of Spain
Completed and Sold 1814 – Current Whereabouts Unknown (Presumed in the Spanish Royal Collection)

Among the final Sympathique clocks completed during Breguet’s lifetime, No. 247 holds both political and horological significance. Delivered in 1814 to King Ferdinand VII of Spain after the Bourbon restoration, it symbolised a return to dynastic continuity and reestablished Spain’s historical patronage of Breguet.

The Spanish crown had been among Breguet’s earliest royal clients, with Queen María Luisa commissioning No. 46 in 1796. This relationship was disrupted during Napoleon’s occupation, when Joseph Bonaparte acquired No. 421/3. With Ferdinand VII’s return, Breguet once again supplied a Sympathique to the Spanish monarchy, reinforcing the link between royal power and technological refinement.

Portrait of Ferdinand VII of Spain by Francisco Goya (1815), Prado. Image – Wikipedia

Like its contemporaries, No. 247 was likely housed in a mahogany or ormolu-mounted case with glazed panels and featured Breguet’s perfected system for daily hand-setting and rate regulation. The paired watch, specially designed for the cradle mechanism, would have synchronised with the clock at a fixed hour. While automatic winding remained rare at the time, it’s unlikely No. 247 included this function.

No. 247 was a gesture of symbolic renewal. Commissioning such a piece reinforced Ferdinand VII’s courtly legitimacy and affirmed Spain’s place among the elite clientele of Europe’s foremost horologist. Though not publicly exhibited today, No. 247 is believed to remain in the Spanish Royal Collection, where it is cited in archival records as a significant example of Breguet’s influence at the intersection of science, monarchy, and craftsmanship.

Sympathique No. 430 — Prince Anatole Demidoff / Tsar Nicholas I of Russia
Completed and Delivered 1830 – Currently in a Private Collection

Sympathique No. 430, delivered in 1830 to Prince Anatole Demidoff, is among the most ornate and diplomatically significant of Breguet’s Sympathique clocks. A Russian industrialist and Napoleon’s nephew by marriage, Demidoff bridged Russian affluence and French cultural influence, making him an ideal patron for Breguet’s refined mechanical artistry.

Sympathique No. 430. Image – Maison Breguet

Paired with watch No. 2787, the clock was later listed in the 19th-century San Donato sale catalogue. It was described as a pendule sympathique à cage with four gilt bronze columns, enamel landscape inlays, and a crescent cradle holding a repeater watch.

The ensemble performed its daily resetting at noon, la sympathie de midi, offering a ritual of precision that delighted its contemporaries. While the watch could function independently, its synchronisation with the clock exemplified the harmonious logic of the Sympathique system. Though it did not feature automatic winding, No. 430 integrated hand-setting and rate regulation with striking aesthetic and mechanical grace.

Dial and movement back view of the Sympathique companion watch movement No. 2787 of clock No. 430. Image – George Daniels in “The Art of Breguet”

Grand Duke Mikhail of Russia acquired No. 430 at the San Donato sale for 4,000 francs, a testament to Breguet’s enduring status among Europe’s elite. Whether kept privately or on behalf of the Imperial Court remains unknown, but the acquisition reaffirmed Russia’s historical connection to Breguet’s most sophisticated inventions. 

The current whereabouts of No. 430 are uncertain, yet its detailed 19th-century descriptions allow us to reconstruct both its appearance and role. A clock made in Paris, decorated in Florence, and acquired by Russian royalty, it stands as a cosmopolitan artefact, a narrative of horological excellence crossing borders and generations.

The Maison Breguet After 1823 — Continuity, Transition, and Workshop Evolution

Breguet No. 1176 Tourbillon. Image – Maison Breguet

The death of Abraham-Louis Breguet in 1823 marked not an end but a transition. His son, Antoine-Louis, had already joined as a partner in 1807, ensuring continuity in both technical and commercial domains. After his father’s passing, Antoine-Louis upheld the maison’s reputation, though, by 1833, he passed control to his son, Louis Breguet. Unlike his forebears, Louis focused more on scientific and electrical research, laying the foundation for his later work in telecommunications and engineering.

With Louis shifting away from horology, the workshop’s leadership increasingly relied on senior workmasters, particularly the Weber family. Michael Weber, once Abraham-Louis’s right hand, and his descendants preserved the workshop’s high standards. Under their stewardship, the language of Breguet’s horology continued to be spoken fluently, even as the founder’s personal influence receded.

Meanwhile, the industry was changing. The rise of semi-industrial production in places like the Swiss Joux Valley and La Chaux-de-Fonds encouraged greater reliance on subcontractors and specialist suppliers. Breguet adapted pragmatically, sourcing escapements, ébauches, and complications from both former élèves and skilled external collaborators such as Fatton, Oudin, Raby, Tavernier, Jürgensen, and Kessels.

In this decentralised context, Sympathique production continued. Though the concept remained unchanged, a clock that could set, wind, and regulate a watch, its realisation relied on a network of skilled hands and inherited expertise. Figures like Louis Raby and the Webers maintained Breguet’s technical ideals while adapting to new production realities.

Rather than representing decline, this era demonstrated the Sympathique’s resilience. Clocks like No. 128 and No. 222 prove that the mechanical ideal Breguet envisioned, precision without intervention, endured, carried forward by artisans who understood that great inventions transcend their creators.

Sympathique No. 128 — Duc d’Orléans
Completed 1836 – Watch No. 5009 – The Only Known Type C Sympathique

Among all the Sympathique clocks bearing the Breguet name, none realises the concept with greater technical completeness than No. 128. Completed in 1836, thirteen years after Breguet’s death, and sold to Ferdinand Philippe, Duc d’Orléans, it marked the culmination of a horological idea first envisioned in the late eighteenth century.

While earlier prototypes like No. 5 explored hand-setting, rate regulation, and even winding, No. 128 remains the only known Type C Sympathique to integrate all three functions in a fully operational form. It is not just the most complex of the series, it is also the clearest embodiment of Breguet’s vision of mechanical autonomy.

Sympathique No. 128. Image – Sotheby’s

Encased in a grand ormolu-mounted tortoiseshell boulle mantel clock, No. 128 features quarter striking and rests on a sculptural base. The movement, built around a short pendulum and powered by a dedicated striking barrel, activates its synchronisation sequence at 3:00 a.m., performing three actions on the paired watch: winding, setting, and rate regulation.

Sympathique No. 128 companion watch. Image – Christie’s

Watch No. 5009 was purpose-built for the clock. It features a lever escapement, compensation balance, parachute shock protection, a half-quarter repeater, and a regulator-style dial with apertures showing rate and state of wind, both reset through the docking process. A concealed arbour and recessed contacts enable the clock to engage with the winding and setting mechanisms, hidden beneath a cover engraved with the Duc’s cypher.

The operation is precisely choreographed. A cam triggers the mechanism at the set hour. First, the winding arbour engages and powers the mainspring via a vertical shaft. A segment wheel tracks the turns and disengages once winding is complete. Next, a pin releases levers that adjust the watch hands. Finally, a regulating arm fine-tunes the balance to match the clock’s time. A locking mechanism then resets the sequence for the next cycle.

Sympathique No. 128 companion watch movement. Image – Christie’s

George Daniels, who restored the piece, believed the mechanism’s complexity and philosophical elegance suggested Breguet’s original authorship, even if completed posthumously. The numbering, clock No. 128 and watch No. 5009, reflects a post-1833 production, yet carries the intellectual DNA of the master.

The clock was delivered for 12,000 francs, one of the most expensive of its time. After the Duke’s death in 1842, it remained with the Orléans family until acquired by the Time Museum in Rockford in the 1970s. Restored by Daniels, it later set records at auction, selling for 2.8 million francs in 1989 and US$6.8 million in 2012, the highest ever paid for a clock.

Sympathique No. 257 — Edward Baring
Completed and Sold 1845 – Private Collection

Among the final Sympathique clocks produced in the nineteenth century stands No. 257, sold in 1845 to Edward Baring, a prominent London banker and future Baron Revelstoke. It is the only known Sympathique from Breguet’s original production delivered to a non-royal client, a sign of the system’s shift from royal commission to prized collector’s piece among Europe’s financial elite.

Sympathique No. 257. Image – private archive

Its 1845 delivery places it firmly in the post-Abraham-Louis Breguet era, when the firm had passed to Antoine-Louis and daily operations were managed by the Weber family. Likely completed by Breguet, Neveu et Compagnie, the clock reflects a moment when private connoisseurs began acquiring technical rarities once reserved for sovereigns.

View of the back of the movement of the Sympathique No. 257 clock. Image – private archive

Technically, No. 257 is believed to follow the standard Type B Sympathique configuration, automatically setting the hands and regulating the balance, but lacking the automatic winding perfected in No. 128. It represents a continuation of the functional refinements developed in the 1830s and 1840s, which are now applied to a civilian context.

View of the movement of the Sympathique No. 257 companion watch. Image – private archive

Its sale to a financier rather than a monarch marks a pivotal transition in the Sympathique’s cultural role, from diplomatic gift to object of intellectual prestige. Though its current whereabouts are unknown, No. 257’s recorded delivery to Baring confirms its status as one of the last original Sympathiques produced. Yet even after that quiet epilogue, one last echo remained. In 1875, more than half a century after Breguet’s death, the Maison completed and delivered Sympathique No. 222 to Grand Duke Konstantin of Russia, a final royal commission, and the closing act in a story that had begun in the shadow of the Enlightenment.

Sympathique No. 222 — Grand Duke Konstantin of Russia
Completed 1875 – Watch No. 5420 – The Final Numbered Sympathique

By the final decades of the 19th century, the artisanal world that birthed the Sympathique had been transformed by industrialisation. Yet Breguet’s most poetic invention endured. Completed in 1875, more than fifty years after Abraham-Louis Breguet’s death, Sympathique No. 222 stands as the last known numbered example in the original series, a final coda to a horological journey that began in 1795.

Grand Duke Konstantin of Russia. Image – Wikipedia

Commissioned for Grand Duke Konstantin Nikolaevich of Russia, cousin of Tsar Alexander II and a noted patron of science and the arts, No. 222 reflects the lingering prestige of Breguet’s legacy within imperial circles. Even as horology modernised, the allure of a clock that could regulate another persisted.

Technically, No. 222 presents a refined Type B configuration: a mantel clock housed in a classical-style case with bronze and enamel decoration, paired with Breguet pocket chronometer No. 5420. The system performed daily hand-setting and rate correction, omitting the automatic winding function. At a set time, the clock’s cam system engaged levers to reset the watch’s hands and adjust its regulator, favouring mechanical precision over theatricality.

Only visual reference available of the Breguet Sympathique no. 222. Image – private archive

What gives No. 222 special weight is its context. By 1875, Breguet’s workshop was no longer led by its founding family, and its production relied on a network of subcontractors across France and Switzerland. The result was a clock of high craftsmanship, but one that also reflected the decentralised nature of late-century watchmaking.

Russia’s deep connection to Breguet, from Alexander I to Nicholas I and multiple imperial commissions, gives No. 222 dynastic resonance. That Grand Duke Konstantin chose to commission the final Sympathique suggests not just personal taste, but an act of continuity within a long tradition of horological patronage.

The clock reappeared publicly in 1997 at Sotheby’s Geneva, where it sold for 1,103,000 Swiss francs to a European private collector. Since then, it has remained out of public view. Though less extravagant than its predecessors, No. 222 is a clock of quiet significance. It marks the end of an era with precision and dignity, the last echo of Breguet’s enduring dream of mechanical harmony.

Sympathique No. 20/48 — Anomalous Construction and the Limits of the Series
Mid-19th Century – Rosewood Case – Breguet, Neveu et Compagnie

Among the Sympathique clocks attributed to the extended production of the Maison Breguet, one unusual piece stands apart: a hybrid construction comprising a case numbered 20 and a movement marked 48. Known as No. 20/48, it falls outside the canonical typology, neither an early royal commission nor one of the later documented examples. Yet its composite nature offers insight into the workshop practices and evolving priorities of the mid-19th century.

Breguet Sympathique no. 20/40 (foto by Isabelle Bidau). Image – Mobilier National, Paris

Though its exact assembly date remains unclear, stylistic and technical cues suggest it was built under Breguet, Neveu et Compagnie, decades after Abraham-Louis Breguet’s death. During this transitional period, the Maison increasingly relied on subcontractors and existing stock to fulfil special orders. In this context, combining leftover or repurposed parts from separate clocks may have been a practical decision, either to fulfil a modest commission or to preserve functionality from damaged originals.

Breguet Sympathique no. 20/40 companion pocket watch (photo by Isabelle Bidau). Image – Mobilier National, Paris

Visually, No. 20/48 stands out for its rosewood case, a departure from the ornate ormolu and tortoiseshell of earlier examples. Its simple, rectilinear form hints at a more domestic and bourgeois sensibility, more aligned with mid-century furniture than courtly opulence. Technically, it likely adheres to the Type B classification, capable of automatic hand-setting and rate correction, but not winding. The movement shows signs of Breguet manufacture or close workshop supervision, though full documentation is lacking.

What No. 20/48 reveals is the persistence of the Sympathique idea even as formal production slowed. Its creation reflects a continued reverence for Breguet’s most poetic invention, and a willingness to preserve it, however modestly. Though it may never have been destined for a palace, it embodies something just as enduring: the survival of a vision, pieced together and quietly carried forward into a new age.

The Making of a Modern Masterpiece

Fast forward to the final quarter of the twentieth century. Before founding THA or reviving the Sympathique under the Breguet name, François-Paul Journe was working independently in Paris, quietly building a reputation among collectors for his technical depth and historical sensitivity. His breakthrough came in the late 1980s with a commission from the London retailer Asprey, a project that would ignite the modern Sympathique revival.

One of only two Asprey Sympathiques. Image – F.P.Journe

Asprey’s request was bold: not replicas of Breguet’s clocks, but contemporary interpretations that honoured the original spirit while embracing modern craftsmanship. Journe responded with two extraordinary clocks, their coral and jade-adorned cases designed by jeweller Gilles Royaux. These richly decorated pieces marked a stylistic break from Breguet’s restraint, signalling a creative reimagining rather than historical reconstruction.

Mechanically, the clocks retained the core functions of the Sympathique, setting, regulating, and winding a paired watch, but with modern refinements. Chief among them was an extended eight-day power reserve, a significant improvement over the daily winding required by Breguet’s originals. This wasn’t simply aesthetic revival; it was a functional update, rooted in Breguet’s logic but executed with contemporary methods.

Completed over three years, the Asprey clocks were technical showpieces that proved the concept’s viability in a modern age. In hindsight, they laid the foundation for a broader project. At THA, the workshop Journe co-founded with Denis Flageollet and Dominique Mouret, the Sympathique idea evolved from individual commissions to a unified vision. Under François Bodet’s leadership, the newly revitalised Breguet brand commissioned a landmark creation for its 1991 Art of Breguet exhibition: a mantel clock paired not with a pocket watch, but with a wristwatch, both bearing the Breguet name.

Sympathique No. 1 — The Modern Resurrection
Completed 1991 – Art of Breguet Auction, Geneva – Tourbillon Wristwatch – Unique

When Sympathique No. 1 was unveiled at the Art of Breguet auction in Geneva in April 1991, it marked both a revival and a reinvention. Created by François-Paul Journe in collaboration with the THA workshop, and commissioned by the newly restructured Montres Breguet under Investcorp, it was conceived not as a replica but as a modern expression of Breguet’s most sophisticated idea.

Breguet Sympathique No 1 (1991). Image – Phillips

Presented as the final lot of the exhibition, No. 1 embodied a complete reinterpretation of the Sympathique system. The 18k yellow gold mantel clock, neoclassical in form and weighing 4.5 kilograms, was built over 15,000 hours by 36 specialists. Its regulator movement featured a compensation pendulum, constant-force escapement, and a full suite of complications: day, date, month, moonphase, thermometer, and equation of time, a modern homage to the scientific clocks of Breguet’s era.

Breguet Sympathique No 1 companion watch in pocket watch case. Image – Phillips

Breguet Sympathique No 1 companion watch. Image – Phillips

What made No. 1 groundbreaking, however, was its pairing with a wristwatch. Departing from the traditional pocket watch format, Journe designed a 36 mm wristwatch in matching gold, featuring a one-minute tourbillon, power reserve, and regulator-style display. When docked into the clock’s cradle, a vertical clutch engaged automatically, initiating a five-step sequence: detection, winding, hand-setting, regulation, and disengagement, all without user input.

The Art of Breguet 1991 auction ad. Image – Klassik Uhren Magazin

This wasn’t just mechanical elegance; it was a closed-loop timekeeping ecosystem. The clock and watch operate as a unit, synchronising daily, with the watch effectively functioning as a wristwatch, pocket watch, and precision instrument in one. Journe’s integration of a constant-force remontoir into a wearable format was especially forward-thinking, anticipating many of the principles that would define his later independent work.

Containing over 1,400 components, No. 1 was among the most complex and expensive horological creations of its time, reportedly priced near one million Deutsche Marks. It was sold at auction on 14 April 1991 and has remained in private hands since. Now, more than three decades later, it will return to Geneva in 2025, with an estimate exceeding CHF 1,000,000.

The Series Continues — Nos. 2 to 20 (1991–1996)

If No. 1 was the manifesto, the nineteen clocks that followed between 1991 and 1996 were its elaboration, a series of mechanical variations on the Sympathique theme, each unique yet grounded in the same foundational system developed by Journe and THA. These clocks, produced discreetly under commission or in limited numbers, all shared a common principle: a classically styled mantel clock with a concealed docking mechanism, paired with a wristwatch that was automatically set and wound once inserted into its cradle.

Despite this shared framework, each piece had its own identity. Materials varied from yellow, pink, and white gold to differing decorative treatments, some understated, others engraved or engine-turned. Most clocks retained the architectural neoclassicism of No. 1, while others introduced subtle stylistic changes. The core mechanical interface remained consistent: the ritual of daily synchronisation that defined Breguet’s original invention.

Breguet Sympathique No. 2, 1996. Image – Sotheby’s

A few examples stand out. Sympathique No. 2, completed in 1996, resurfaced at auction in the 2000s with a cleaner, more restrained aesthetic. Its wristwatch kept the regulator layout of No. 1, and the clock dial simplified its astronomical functions for a more minimalist look.

No. 4, started in 1990 but completed later, introduced bold colour with a red and gilt case and black enamel accents, paired with a traditional three-hand wristwatch, a nod to Breguet’s classical roots, reimagined with modern flair.

No. 15 (1994) leaned toward opulence, featuring a moonphase, calendar, and sculptural case design. Its wristwatch included a regulator dial with retrograde power reserve, blending baroque complexity with technical finesse.

Finally, No. 20, the last in the series, offered a refined finish and an enhanced wristwatch movement, symbolically closing the series with grace. Sold at auction, it carried the quiet weight of being the final numbered Sympathique.

Breguet Sympathique No. 15, 1994. Image – Sotheby’s

Throughout the series, the format of the wristwatch varied, but the principle remained constant. Each watch was manually wound (except No. 1), regulator in style, and built with the interface required for synchronisation. All were modern tributes to Breguet’s vision: mechanical systems designed not to imitate the past, but to complete it.

The twenty Sympathique clocks made between 1991 and 1996 remain among the most ambitious homages to Breguet ever realised in modern watchmaking. Now held mostly in private collections, they occasionally surface at auction, offering collectors and scholars alike a glimpse into one of the most intellectually rigorous revivals in contemporary horology.

A Dialogue Across Centuries

The return of Breguet Sympathique No. 1 to the public stage is more than the reappearance of a rare collector’s piece. It is a reminder that even in an age of digitised precision, mechanical ingenuity retains its power to inspire, not simply for its complexity, but for its coherence, its purpose, and its poetry. In this singular creation, we see not only the continuation of a mechanical idea first conceived in the 1790s, but its deliberate completion across time. 

For François-Paul Journe, the Sympathique was never a replica. It was a conversation, with Breguet, with history, with the very notion of horological perfection he always pursued. In reimagining a lost invention, he did not merely reconstruct its mechanics; he extended its logic. The introduction of a wristwatch, the inclusion of a remontoir and tourbillon, the expansion to an eight-day power reserve, these were not embellishments, but evolutions.

François-Paul Journe. Image – F.P. Journe

At the same time, the Sympathique marked a turning point in Journe’s life. It bridged his years of atelier independence with the foundation of his own manufacture. Before Chronomètre à Résonance, before the Tourbillon Souverain, before Invenit et Fecit, there was this. The Sympathique was not only his technical proof of concept, but his declaration of creative autonomy. Yet the meaning of the Sympathique extends even further. 

By the mid-nineteenth century, Adrien Philippe’s invention of the crown-setting mechanism shifted the focus of watchmaking toward personal autonomy, allowing users to wind and set their watches without tools, a clear convergence with Breguet’s vision of timepieces maintained automatically by a parent clock. But the goal remained the same: simplicity, precision, freedom from error. 

In the twentieth century, watchmakers returned to the dream. Between the 1920s and 1950s, experimental systems emerged to allow watches to regulate, reset, or adjust themselves. Most faltered, too complex or too costly for mass adoption. But all of them echoed Breguet’s earliest drawings: a vision of horological self-reliance, from Wilhelm Kaufmann’s hand-corrected minute adjuster to ETA’s self-regulating mechanisms.

By the end of the twentieth century, that vision had shifted. The dream of the Sympathique had become less about mechanical necessity and more about philosophical tribute. Journe’s modern clocks, beginning with the Asprey commissions and culminating in No. 1, did not aim for industrial relevance. They sought beauty, rigour, and fidelity to an idea, the elegant reaffirmation of a forgotten ideal.

Select Bibliography

Primary Sources
Daniels, George. The Art of Breguet. Sotheby’s Publications, 1975.
Salomons, Sir David. Breguet 1747–1823. Paris: H. Daragon, 1921.
Alte Uhren Journal. Vol. 3/1982, 4/1982, 1/1986, 4/1990.
Montres Breguet Archives (sales ledgers and workshop records, 1795–1875).

Auction Catalogues
Sotheby’s Geneva: Masterpieces from the Time Museum (1999), Important Watches (1989, 2005, 2008, 2012).
Phillips Geneva: The Geneva Watch Auction: XXI (2025).
Antiquorum Geneva: Important Watches (1991, 1994, 2003).
Christie’s Geneva: Important Watches (1990, 1994).

Museum Documentation
Royal Collection Trust (UK), Topkapı Palace Museum (Istanbul), Beyer Watch and Clock Museum (Zurich), Time Museum (Rockford), Patek Philippe Museum (Geneva).
Exhibition Catalogue: Breguet: Apogée de l’Horlogerie Européenne, Louvre Museum, 2009.