NEW RECORD! Phillips Sells the Sir Edwin Lutyens Clock, Designed for the Viceroy’s House in India, for More Than $146,000

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Update: Phillips sold the mantel clock that Sir Edwin Lutyens designed for the Viceroy’s House circa 1930 for £112,500, or more than $146,000–a new auction record for Lutyens.

 

What you see: A mantel clock designed by Sir Edwin Lutyens [pronounced “Letchens”] for the Viceroy’s House, New Delhi, circa 1930. Phillips estimates it at £80,000 to £120,000 ($105,200 to $157,800).

 

The expert: Marcus McDonald, senior design specialist at Phillips.

 

How often do pieces designed by Lutyens for the Viceroy’s House come to market? To my knowledge I’m not aware of any. I tried all the search engines.

 

And how rare is it to have a Lutyens piece that’s fresh to market and consigned by a member of the Lutyens family? It’s exceptionally rare. It hasn’t happened before to my knowledge. It has an impeccable provenance.

 

What does that suggest about how this clock will do at auction? We’re about to find out. The Viceroy’s House was by far his largest commission and possibly his most important commission. We have high hopes.

 

I understand the clock is not unique, and that Lutyens sometimes had copies made of designs of his that he especially liked. How many of these clocks exist, and where are they? Lady Willingdon’s clock [the wife of the first Viceroy to live in the home], I don’t know what happened to hers. She would have brought it back to the U.K. She had no descendants. Mary Lutyens, his daughter or granddaughter, still has hers. The third clock is the one we have, from the Lutyens family. Lutyens had it made for himself, and it’s by descent to the current owner. The three clocks are identical as far as I’m aware.

 

Did Lutyens design other clocks? I found another Lutyens clock in a Sotheby’s auction  in 1987, and he designed a children’s clock for a nursery. I spoke to a horologist [about this clock]. The design is all Lutyens. The movement is a typical movement for the time, adapted to fit the oval face. The expanding hands are bespoke.

 

The body of the clock is painted mahogany. I’ve never encountered painted mahogany before. Did he use it often? It’s slightly peculiar. Pearwood is traditional for clocks. But you can see quite clearly when you remove the finial from the clock that it’s mahogany. I guess it weathered better in India. It seems like a sensible solution.

 

Why does it have expanding hands? Was that done because of India’s humidity? No, it’s because of the clock’s oval face. The minute hand has to expand to be in line with the Roman numerals. The hands are blued steel, to make them rustproof.

 

How is this clock an example of Lutyens’s “wit and vitality”? He always had jokes hidden within his work. Here, the pansy at the top of the clock is a key [the winding key]. Pansy is a pun on penser, the French word for “to think.” The play on words–pansy as in flower and the French word “to think”– is meant to be a reminder to wind the clock. We have a separate key-winder for it. It’s perfectly fine [to use the original key] but it’s [using the key-winder is] easier than using the one on the top of the clock.

 

Is the pansy pun one of his better puns? It depends on the observer, I suppose. But I think it’s a fairly good one.

 

What other details mark this clock as a Lutyens design? The truncated bun feet on the base. You see them in his furniture.

 

What is the clock like in person? It has a presence, certainly. When I first saw it in the client’s house, I was immediately drawn to it on the mantle.

 

What does it sound like? I haven’t heard it chime. I’ve only heard it ticking. You can hear it as you’re approaching. The sound of the ticking is lively and quite loud.

 

What’s the auction record for a piece of Lutyens-designed furniture? The highest at auction I’m aware of is a table that Sotheby’s sold in March 2014 for £62,500 ($104,500).

 

Why will this clock stick in your memory? It’s just such a captivating object. The provenance, the original location, and the designer are three elements that make it such an amazing work.

 

How to bid: The Lutyens clock is lot 91 in the Important Design sale at Phillips London on October 18, 2018.

 

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Text is copyright Sheila Gibson Stoodley. Image is courtesy of Phillips.

 

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Phillips Could Sell a Mantel Clock Designed By Sir Edwin Lutyens for the Viceroy’s House in India for More Than $150,000

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What you see: A mantel clock designed by Sir Edwin Lutyens [pronounced “Letchens”] for the Viceroy’s House, New Delhi, circa 1930. Phillips estimates it at £80,000 to £120,000 ($105,200 to $157,800).

 

The expert: Marcus McDonald, senior design specialist at Phillips.

 

How often do pieces designed by Lutyens for the Viceroy’s House come to market? To my knowledge I’m not aware of any. I tried all the search engines.

 

And how rare is it to have a Lutyens piece that’s fresh to market and consigned by a member of the Lutyens family? It’s exceptionally rare. It hasn’t happened before to my knowledge. It has an impeccable provenance.

 

What does that suggest about how this clock will do at auction? We’re about to find out. The Viceroy’s House was by far his largest commission and possibly his most important commission. We have high hopes.

 

I understand the clock is not unique, and that Lutyens sometimes had copies made of designs of his that he especially liked. How many of these clocks exist, and where are they? Lady Willingdon’s clock [the wife of the first Viceroy to live in the home], I don’t know what happened to hers. She would have brought it back to the U.K. She had no descendants. Mary Lutyens, his daughter or granddaughter, still has hers. The third clock is the one we have, from the Lutyens family. Lutyens had it made for himself, and it’s by descent to the current owner. The three clocks are identical as far as I’m aware.

 

Did Lutyens design other clocks? I found another Lutyens clock in a Sotheby’s auction  in 1987, and he designed a children’s clock for a nursery. I spoke to a horologist [about this clock]. The design is all Lutyens. The movement is a typical movement for the time, adapted to fit the oval face. The expanding hands are bespoke.

 

The body of the clock is painted mahogany. I’ve never encountered painted mahogany before. Did he use it often? It’s slightly peculiar. Pearwood is traditional for clocks. But you can see quite clearly when you remove the finial from the clock that it’s mahogany. I guess it weathered better in India. It seems like a sensible solution.

 

Why does it have expanding hands? Was that done because of India’s humidity? No, it’s because of the clock’s oval face. The minute hand has to expand to be in line with the Roman numerals. The hands are blued steel, to make them rustproof.

 

How is this clock an example of Lutyens’s “wit and vitality”? He always had jokes hidden within his work. Here, the pansy at the top of the clock is a key [the winding key]. Pansy is a pun on penser, the French word for “to think.” The play on words–pansy as in flower and the French word “to think”– is meant to be a reminder to wind the clock. We have a separate key-winder for it. It’s perfectly fine [to use the original key] but it’s [using the key-winder is] easier than using the one on the top of the clock.

 

Is the pansy pun one of his better puns? It depends on the observer, I suppose. But I think it’s a fairly good one.

 

What other details mark this clock as a Lutyens design? The truncated bun feet on the base. You see them in his furniture.

 

What is the clock like in person? It has a presence, certainly. When I first saw it in the client’s house, I was immediately drawn to it on the mantle.

 

What does it sound like? I haven’t heard it chime. I’ve only heard it ticking. You can hear it as you’re approaching. The sound of the ticking is lively and quite loud.

 

What’s the auction record for a piece of Lutyens-designed furniture? The highest at auction I’m aware of is a table that Sotheby’s sold in March 2014 for £62,500 ($104,500).

 

Why will this clock stick in your memory? It’s just such a captivating object. The provenance, the original location, and the designer are three elements that make it such an amazing work.

 

How to bid: The Lutyens clock is lot 91 in the Important Design sale at Phillips London on October 18, 2018.

 

How to subscribe to The Hot BidClick the trio of dots at the upper right of this page. You can also follow The Hot Bid on Instagram and follow the author on Twitter.

 

Phillips is on Twitter and Instagram.

 

Text is copyright Sheila Gibson Stoodley. Image is courtesy of Phillips.

 

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RECORD! Phillips New York Sold Paul Newman’s Own Paul Newman Rolex Daytona for $17.7 Million–a Record for Any Wristwatch

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What you see: A 1968 Rolex Daytona “Paul Newman,” reference 6239 and owned by the late actor Paul Newman. Purchased for him by his wife, Joanne Woodward, she engraved the back of the case with the words, “DRIVE CAREFULLY ME.” Estimated in excess of $1 million, Phillips sold it in New York in October 2017 for $17.7 million, a world auction record for any wristwatch.

 

The expert: Paul Boutros, head of watches for the Americas for Phillips.

 

How rare are these mid-century Rolex Daytonas with the “exotic” dial that was later nicknamed for Paul Newman? Not especially rare, in the grand scheme of things. The thing with this type of Daytona is they’re really sought-after. There’s far greater demand than supply. The regular Daytona appeared in 1963. The version with the exotic dial, aka the Paul Newman dial, appeared on the market in 1966.

 

For a long time this watch was considered “lost.” How did you find it? Did the consigner come to you, or did you sleuth it out? It came to us. The consigner, James Cox, had had it in his possession since 1984. [Newman spontaneously gave it to Cox, who was dating Newman’s daughter, Nell, at the time, after he idly mentioned that he did not own a watch.] In 2016, he decided it was time to sell it for a good cause, Nell Newman’s charity. He reached out to his attorney and asked how to sell it. The attorney said he didn’t know, but he had a client with a world-class watch collection, and would ask him. The attorney called the collector and asked, “What would you think if I had Paul Newman’s Paul Newman?” The man said “$100,000 to $150,000.” The attorney said, “No no no, the Paul Newman watch worn by Paul Newman.” The collector replied, “Whoa. You have to go to Phillips.”

 

Did John Cox know what he had? And did he know that the watch was thought to be missing? He didn’t know its importance initially. He wore it casually. Once he was in Japan, and someone came up to him and said, “Paul Newman! Paul Newman!” and he thought, “Wow, how did they know I have Paul Newman’s Daytona?” He didn’t know the watch was called a Paul Newman until he did some research. Then he understood it was an important watch. He placed it in a safe deposit box in the early 1990s. Maybe he didn’t know collectors were hunting for it.

 

The Paul Newman Daytona was the top lot in Phillips’s first New York auction of watches. Did you hold and schedule the Paul Newman expressly for this sale, or did it happen to come to you at the right time? We always knew we would launch watch sales in New York, but the time had to be right. We felt that a great way to launch New York, and the best thing for the Paul Newman, was to sell it in New York. It was a great alignment of the stars.

 

You estimated it in excess of $1 million. The previous record for any wristwatch was $11 million, set at Phillips Geneva in November 2016 by a 1943 Patek Philippe, ref. 1518. When you set the estimate for the Paul Newman, did you have any notion that it could break the record? No. We did not. We were as surprised as anyone. We took in the watch in 2016. Before that, the most expensive Rolex at auction sold for $2.4 million. While the Paul Newman was in our possession, a Rolex sold for $3.4 million and another sold for $5 million. We thought it had a chance of beating the $5 million record for a Rolex. We didn’t know it would beat the record for any wristwatch.

 

Phillips sold those two record Rolexes in the same May 2017 Geneva auction. But you didn’t change the $1 million-plus estimate on the Paul Newman. Why not? We were still unsure. And once we agree upon an estimate and a contract is in place, we don’t like to change it unless we have to. We kept the estimate conservative.

 

Have other Paul Newman-owned watches gone to auction? How did they do? There was a modern 1990s Daytona associated with him that sold at a charity auction in 1995. It was one of many watches in the auction. It probably sold for $30,000. That’s it. He donated it for charity.

 

How do auction records of charity sales affect how you prepare an estimate for a similar item? There’s a little art and science behind an estimate. We ask, “How much would we pay for this watch if it was presented to us?” Another thing we consider is the price of a standard Paul Newman. In 2016, it was $150,000. With a Paul Newman provenance, it’s maybe eight to ten times that.

 

What factors drove the watch to such a staggeringly high record price? It’s an iconic watch from an iconic brand. By itself, without the Paul Newman provenance, it was $180,000 to $200,000, maximum. Factor in the Paul Newman provenance, and it’s $17.7 million. That portion above the $200,000 is directly associated with the provenance.

 

To what extent, if at all, did the charity angle–the fact that the Nell Newman Foundation and the Newman’s Own Foundation would benefit from the sale–help push the watch to its record price? It’s impossible to quantify. But if there was no charity aspect, I don’t think it would have sold as high.

 

What condition was the watch in? It was all-original. It was worn and enjoyed but it never experienced a polishing. It had its original factory finish, and the engraving was perfectly preserved. Its originality really helped it fly.

 

Does it work? Oh yes. We only sell watches that work. If it hadn’t worked, we would have sent it to a watchmaker to make it work. It’s a minor cost.

 

Did you try on the watch? Of course, yeah. It was very emotional. Your first time seeing it, looking at it, handling it–it’s the moment many wait for for their collecting careers. It was a breathtaking moment for me.

 

How long did you wear it? Not too long. I took a couple of wrist shots for my Instagram account.

 

When you announced Phillips would sell the Paul Newman Daytona, did you have bidders signing up who you’d never worked with before? Yes, many people were new to us. For a typical top lot, we have maybe five qualified people interested in bidding. The Paul Newman was above average. We had 34 registered to bid on Paul Newman’s Paul Newman, and all of them were qualified. All 34 had to show their bank statements.

 

You sold the watch in a traditional way–no online bids allowed. Why? We always accept online bids, except for this one. We wanted no potential sabotage of the lot. We accepted phone, absentee, and in-room bids. Online bids were turned off.

 

What was your role during the sale? I was on the phone with a potential bidder. Aurel [Aurel Bacs, the auctioneer, from the consulting firm Bachs & Russo] started the lot with a commission bid of $1 million, and then Tiffany [Tiffany To, a Phillips watches specialist from the Hong Kong office who was representing another phone bidder] interrupted to say “10 million!”

 

Have you ever seen anything like that happen before at an auction–the auctioneer barely finishes relaying the initial seven-digit bid, and it’s almost instantly trounced by an exponentially larger one? No. It was an incredible jump bid. It decapitated many bidders. My phone bidder, they said they were out. The person who bid $10 million was the underbidder in the end. [Phillips taped the whole thing, and you can see it on YouTube, from the opening promotional film to the final fall of the hammer.]

 

Was the record acknowledged at the time? I think Aurel knew at $10 million [that it was going to stomp the $11 million record]. He was shocked like the rest of the room, taken aback. [Bachs announces the opening $1 million bid around the 2:06 mark, and Tiffany jumps in soon after. When he realizes that she’s confirming a $10 million bid, he is indeed speechless for a few seconds.] He regained his composure. He knew, but I don’t recall him saying it was a new record [at that moment]. [Around the 10:00 mark, Aurel remarks, “I don’t need to say what this watch does in terms of records. It does everything.”]

 

How did you feel after the final gavel strike? It was… Wow. We were really shocked. Very happy, of course. Elated for Elinor Newman, for James Cox, and for collectors of watches. It was a great moment for the hobby, for someone to pay so much for an important timepiece. For me, it was the ultimate wristwatch. One thing to note is the fact that it took place in New York. Not Geneva, New York. It was great for the market.

 

How long do you think this record will stand? What else could challenge it? The watch was a once-in-a-lifetime opportunity. It’s going to be tough to break, this record. I don’t think it will stand forever. I always hope something new will be unearthed that will give it a run for its money.

 

How to subscribe to The Hot BidClick the trio of dots at the upper right of this page. You can also follow The Hot Bid on Instagram and follow the author on Twitter.

 

Phillips is on Twitter and Instagram. Paul Boutros is on Twitter and  Instagram also.

 

Text is copyright Sheila Gibson Stoodley. Image is courtesy of Phillips.

 

Read Phillips’s own story about the Paul Newman watch, which includes period photos of Newman wearing it.

 

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SOLD! A Scarce Robert-Houdin Mystery Clock Fetches $36,000 at Potter & Potter

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Update: The Robert-Houdin mystery clock sold for $36,000.

 

What you see: A mid-nineteenth century glass column mystery clock by Jean Eugène Robert-Houdin. Potter & Potter Auctions estimates it at $40,000 to $50,000.

 

Who was Jean Eugène Robert-Houdin? He was a self-taught French magician as well as a horologist, or clockmaker. His father, Prosper Robert, made watches, and Robert-Houdin later married into a clock- and watchmaking family, adding his wife’s surname to his own. At some point between 1831 and 1844, Robert-Houdin invented the mystery clock, a device that baffles by keeping time without any visible gears or clockwork. He invented or refined many magic tricks that are still performed today, and his 1859 autobiography became a best-seller. Eric Weiss, a struggling young American immigrant, was so inspired by Robert-Houdin’s life story that he referenced the Frenchman in his stage name: Harry Houdini. Robert-Houdin died in 1871 at the age of 65.

 

The expert: Gabe Fajuri, president of Potter & Potter Auctions.

 

How rare are Robert-Houdin clocks at auction? They’re very hard to come by.

 

Is there a catalog raisonné of his clocks, or an accepted count, or… There’s no great count. Even his own property got scattered to family members.

 

How many Robert-Houdin clocks have you handled? Two other mystery clocks, and one electromagnetic that wasn’t a mystery clock. It was one of the most expensive ones we’ve sold.

 

How do you know this clock is by Robert-Houdin and not his son, who made some mystery clocks after his father’s death? That’s a tough one, especially because they worked in conjunction to some degree. Two expert horologists took it apart [for Potter & Potter] and did a 12-page report on all the clocks in the David Baldwin collection. Other clocks in the auction, on examination, were pieced together with old parts or done in the style of Robert-Houdin. Their estimates would be five times higher if they were original, maybe more.

 

How often do you see a Robert-Houdin mystery clock with this magnifying glass-like shape, as opposed to the one in lot 30, which has a square dial sitting in a frame on a marble base? You see just one glass dial most often. This [lot 28] is a double mystery. The single mystery is the glass dial–how does it keep time? The double mystery is the glass dial plus the glass tube.

 

And Robert-Houdin invented the mystery clock? For a Paris exposition, yes. If he wasn’t a magician, he would have been a clockmaker. He invented a lot of things, and he was fascinated by electricity. He was one smart dude.

 

How does the mystery clock reflect his inventiveness? It’s interesting because it’s the confluence of two things in his life–clockmaking and magic. Here’s a beautiful clock that you’d be happy to put in your salon, but at the same time, you think, how does it work? It’s both beautiful and miraculous.

 

Does it work? I got it to chime, but I haven’t seen its hand move. Robert-Houdin mystery clocks are notorious for needing adjustments. You’ll need to have a clockmaker look at it.

 

This clock has an estimate of $40,000 to $50,000. The square dial clock in lot 30 carries an estimate of $30,000 to $50,000. What accounts for the difference? It’s [the clock in lot 28] a much more uncommon form. One of the guys who did the examination for me thought it was quite unusual and original enough to be exciting to a clock collector.

 

Who fights more fiercely for Robert-Houdin mystery clocks–magicians, or clock collectors? I’ve had winners in both of those camps. It’s hard to predict.

 

What is this clock like in person? Does it make an impression? It certainly did when I walked into the [consigner’s] house to look at it the first time I saw the collection. He had 15 of them. You can instantly tell it’s something special.

 

How to bid: The Robert-Houdin mystery clock is lot 28 in the David Baldwin Magic Collection II auction at Potter & Potter on June 16, 2018.

 

How to subscribe to The Hot BidClick the trio of dots at the upper right of this page. You can also follow The Hot Bid on Instagram and follow the author on Twitter.

 

Follow Potter & Potter on Instagram and Twitter.

 

Text is copyright Sheila Gibson Stoodley. Image is courtesy of Potter & Potter.

 

Gabe Fajuri has appeared on The Hot Bid many times. He talked about a genuine 19th century gambler’s case that later sold for $6,765; a scarce 19th century poster of a tattooed man that fetched $8,610; a 1908 poster for the magician Chung Ling Soo that sold for $9,225; a Golden Girls letterman jacket that belonged to actress Rue McClanahan; and a 1912 Houdini poster that set the world record for any magic poster at auction.

 

Would you like to hire Sheila Gibson Stoodley for writing or editing work? Click the word “Menu” at the upper right for contact details.

 

RECORD! Sotheby’s Sells the Henry Graves Jr. Patek Philippe Supercomplication Pocket Watch for $24 Million

The Henry Graves Supercomplication - Siderial Time dial

Editor’s note: With the arrival of the holidays, The Hot Bid shifts its focus to world auction records. 

 

What you see: The Henry Graves Jr. Supercomplication pocket watch, commissioned by Graves from Patek Philippe. The Swiss company finished the timepiece in 1932 and delivered it in 1933. It is the most valuable timepiece of any kind sold at auction, and has been for almost two decades. It fetched a then-record $11 million at Sotheby’s in 1999, and commanded $24 million at Sotheby’s in 2014.

 

So American banker Henry Graves Jr., approaches Patek Philippe to create this timepiece in 1925. How serious a challenge is this project? Is it akin to the moon shot–America devoting itself to sending astronauts to the moon in the 1960s? “In the watch world, yes,” says Daryn Schnipper, chairman of Sotheby’s international watch division. “Patek Philippe would not do it again until 1989.”

 

Why did Patek Philippe wait until 1989 to do something like this again, with the Calibre 89? “Probably, they didn’t have a commission,” she says. “1989 was an anniversary year for Patek Philippe. They were talking about how to celebrate a very important anniversary [Patek Philippe’s 150th]. They decided to replicate the Graves, but then said, ‘Let’s not stop there, let’s surpass it.’ The people involved said it was not possible. They used computer assistance. One reason the Graves couldn’t be replicated was those who worked on it were dead by 1989.”

 

Didn’t the people who worked on the Henry Graves Supercomplication leave behind technical drawings of the timepiece? “When they developed a one-off, it was in the watchmaker’s head,” she says, noting that a team of twelve was assembled for the Henry Graves Supercomplication project, and they worked on it for seven years. “I know it sounds crazy, but I didn’t see a drawing [for it] except what was done afterward.”

 

How does the Henry Graves Supercomplication differ from the Calibre 89? “The Graves had 24 complications and was 74 mm (almost three inches) in diameter. It was never done before. When they did the Calibre 89, [which had 33 complications], it was significantly bigger. It almost didn’t seem like a watch,” she says. “The Graves is not crazy big like the Calibre 89, which weighs almost two and a half pounds. The Graves is one pound, three ounces. They [the Calibre 89 team] couldn’t come close at all. The Graves is a tour-de-force. I think it shows you really can’t replace people with machines.”

 

Did Graves require Patek Philippe to include any specific complications? “He probably asked for the night-time sky,” she says. “The timepiece that Patek Philippe made for James Ward Packard [Graves’s rival in watch-commissioning] had the night-time sky over Cleveland. Graves wanted one with the sky over New York. At that time, you only saw it on three watches. The Graves timepiece shows the night sky with the Milky Way and various stars. It’s mesmerizing, and it’s done to the latitude and longitude of Henry Graves’s home near Central Park at 834 5th Avenue.”

 

What was the hardest complication for the Patek Philippe team to integrate? “Making sure they [the 24 complications] worked with each other. Just to sync everything together and make sure it works accurately,” she says, noting that the Graves timepiece is less than an inch and a half thick. “It’s organic. It works together as a system. It’s very complex. If it doesn’t all sync together and work accurately, it’s a failed idea.”

 

Why do watch-heads love the Henry Graves Supercomplication? “Because it’s everything. It’s a technical tour-de-force,” she says. “It’s the fact that it’s the Supercomplication, the whole ball of wax, and the fact that it was entirely handmade–no use of any computer technology.”

 

The Henry Graves Supercomplication set a world auction record when it sold at Sotheby’s in 1999 for $11 million. When Sotheby’s sold it again in 2014, it set the record anew by fetching $24 million. You were present for both records. Could you talk about what they were like? “The first time, we didn’t know what to expect, because it had never sold at auction before,” she says, noting that Sotheby’s put an unusually high $3 million to $4 million estimate on the Henry Graves Supercomplication in 1999. “The second time, there was a lot more writing on it. ‘Will it break the record?’ ‘Will it find a buyer?’ I knew the consigner was sad to sell it but wanted to pass it along. There was a lot of emotion involved. It was a roller coaster, those few days. There was so much more emphasis on it. It was a big, big deal.”

 

How did you experience both auctions? “The first time, I was in a state of shock as it exceeded five million. It was very exciting, and I remember holding my breath until the hammer went down,” she says. “The second time, it was exciting because it was all in the room. It came down to two people. It was still exciting for me to watch, it was just a different environment.”

 

What is the Henry Graves Supercomplication like in person? “It feels good. It feels right. It feels high-quality. It’s a perfect kind of watch,” she says, and launches into a memory that compares aspects of the two auctions. “In 1999, we hand-carried it from Rockford, Illinois, to Sotheby’s in New York City. [We thought] If it sold for $3 million to $5 million, that’s a lot. Once it went for $11 million and beyond–we had estimated it [the second time] at $17 million to $20 million–we no longer hand-carried it. We had armed guards. We were still handling it, but yeah. As important as it was the first time, it was that much more important the second time. Its value was greater, and its fame was greater.”

 

How long do you think the record will stand? “I don’t know. So far, it’s been three years,” she says. “Aside from something like the Paul Newman wristwatch, which was about provenance, you know, records are meant to be broken. The fact that it held the record from 1999 to 2014 was something, but with that Paul Newman bringing $18 million, who knows? It’s kind of hard to speculate. Anything’s possible.”

 

Might one of the four Calibre 89 timepieces challenge it? “Not even close,” Schnipper says. “The Calibre 89 is very important, but it’s not the same. They made more, they had engineers, they had computer-assisted design–it’s just different.” [Editor’s note: The yellow-gold version of the Calibre 89 was consigned to Christie’s in 2016 for $11 million and went unsold. Sotheby’s offered it in May 2017 with an estimate of about $6.4 million to $9.9 million, and it went unsold again. Also, Vacheron Constantin has since claimed the ‘most complicated watch ever made’ title with the 2015 release of the Reference 57260. It measured almost four inches across, weighed just over two pounds, and boasted 57 complications.]

 

Why will the Henry Graves Supercomplication stick in your memory? “It was the most important watch known in private hands at that time [1933], and it’s still in private hands,” she says. “It’s like selling the Mona Lisa. How do you get your head around that? That’s kind of where it is for me.”

 

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You can watch Daryn Schnipper talk about the Henry Graves Supercomplication in this 2014 Sotheby’s video.

 

Text is copyright Sheila Gibson Stoodley. Image is courtesy of Sotheby’s.

 

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