There are few iconic models that are considered unarguably the pinnacle of watch collecting, horological dream enthusiasts hunt down - at times for years - in order to call their own. These references usually combine rarity, technical proficiency and exceptional aesthetics in such a way that they have been recognised for their importance since the very beginning of watch collecting, some 40 years ago. Patek Philippe reference 2499 is without a doubt one of these treasures - considered by some the most beautiful vintage design ever created by mankind. Already offering a very small 349 examples production, when it comes to early examples (First and Second Series) its rarity and appeal both skyrocket. When, however, an early examples is dressed in pink gold, the connoisseur knows to be in the presence of one of the most important timepieces ever made - such as the present Pink Second Series in immaculate condition.
So rarified is the output of pink gold Second Series ref. 2499, that the 8 identified pieces are all regarded as Mona Lisa of watch collecting, their last appearances being as follows:
868’226 - last appeared at auction in 2013
868’605 - last appeared at auction in 1999
868’606 - the present watch, from an European collection
868’609 - formerly property of Eric Clapton, last appeared on the market in 2022
868’611 - last appeared at auction in 2001
868’613 - last appeared at auction in 2011
868’626 - last appeared at auction in 1989
868’752 - originally discovered in Italy and sold at auction in 2009
Furthermore, when analysing where these pieces are today, it springs to mind that they are all in the world’s greatest private watch collections and quite equally spread between Asian, European and American collectors, underlining the truly worldwide appeal of these masterpieces.
Adding to the overall lure of a pink gold Second Series 2499, the present piece is not only one among those which have been missing from the market for the longest time (having last appeared at auction in 2001 and having resided in the same collection for the past 22 years) but furthermore one of those in the most exquisite condition of preservation. The case fully preserves its architecture, with the voluptuous lugs showcasing their carved design and with incredibly deep and crisp hallmarks on the band and side of the lug - two locations notoriously very sensitive to polishing. The dial fully matches the case condition, with crisp engraved/enamelled graphics without a hint of fading and sharp edges to the calendar windows and moon aperture.
We truly are in the presence of one of the best specimens of one of the most collectible wristwatch models ever made - an absolute collector’s dream.
HISTORICAL CONTEXT
Reference 2499 is the second - and last vintage - serially produced Patek Philippe perpetual calendar chronograph wristwatch with moonphases. Introduced in 1950, it succeeded (and partly overlapped with) reference 1518 (1941-1954). Mechanically, it shares the same 13 lignes 130 chronograph calibre with the addition of the calendar/moonphase module, based on a Valjoux ébauche heavily modified in-house. With this movement, Patek Philippe “institutionalized” an aesthetic language that has been since then employed on virtually all the models with this complication: an extremely balanced three-counter, two-window architecture which manages to convey the wealth of information given by the watch without feeling overly encumbered.
So entangled is this line of timepieces with the history of the company, that it is the only line which has been in continuous production from its inception until nowadays, with five main models so far (1518, 2499, 3970, 5970 and 5270).
The technical supremacy of a company who manages to serially manufacture perpetual calendar (not even considering the additional complications!) timepieces beginning from the 1940s is beyond praise: to put it in perspective, the only other company to try something similar was Audemars Piguet with perpetual calendar (no additional complication) reference 5516. That model was in production for about 4 years (1955-1958), for a total output of 9 pieces. By then, Patek had already made all the 281 examples of ref. 1518, and production of ref. 2499 had been on for six years.
This also helps us to understand the, already back then, incredible power of this brand. It is important to take note of the fact that reference 1518 (and its chronograph-less counterpart ref. 1526) was launched in 1941 amidst the full swing of WWII. Patek Philippe clientele was however so selected that the war had virtually no impact on the sale of the watches - with actually waiting lists already back then. The same situation occurred - magnified by the peace time - with reference 2499.
STYLE CONSIDERATIONS
While technically superb, part of the charm of the reference is to be attributed to its design. It would be only slightly hyperbolic to state that the design of this model is to be considered the pinnacle of watchmaking design - all ages, all brands, all timepieces included. While this might be arguable - and in fact scores of watch enthusiasts already had such an argument - it is undeniable that the design of the model is a lesson in balance and elegance.
Its progenitor ref. 1518 was a son of its time - a wartime - and thus the design was highly inspired by the Bauhaus aesthetic mantra “form follows function” (today reinterpreted as “less is more”): an extremely elegant and compact, no-frills timepiece which is still today considered a champion of Patek Philippe’s understatement.
Reference 2499 was instead designed immediately post-war, and the promises and hopes of such a vibrant era are apparent in its design. The diameter was enlarged from 35mm to 36mm (and later 37.5), a major departure from the restrained aesthetics codes so far employed. The architecture of the case manages to achieve what might have seemed an impossibility: a perfect balance of flair and restrain. The watch feels incredibly luxurious and peculiar, possibly even borderline flamboyant, but never in slightest excessive or overdone. The case architecture is extremely complex: the concave bezel is contrasted by a convex bad. Edges and curves abound everywhere. The lugs - possibly the most iconic detail of the reference - feature a sculpted groove to the outer edge which manages to impart a feeling that is both imposing and airy at the same time. Many of these details have been employed on later models and some references - going as far as ref. 5016 and 5004, in production until the early 2010s - still feature virtually the same case, with minor adaptations.
TECHNICAL DETAILS AND PRODUCTION.
The first examples of ref. 2499 date back to 1949/1950, and the model was discontinued in 1985. The total production adds up to 349 pieces in yellow and pink gold, and 2 additional “extra series” platinum pieces. The existence of an extremely restricted number of white gold pieces has been speculated but never confirmed.
As mentioned, the movement was based an a Valjoux ébauche modified and finished to the highest standard, and sometimes stamped with the Geneva Seal (but not always: there seem to be no logic in regard to which examples bear the Seal and which ones do not). No relevant modification the the movement has been implemented throughout the entire production cycle.
Case and dial instead present a marked evolution, and four series are recognised. The present pink gold example belongs to the second series. Second series cases are markedly different from those belonging to the first series: the square chronograph pushers of the first series (inherited from ref. 1518) are abandoned and in their place we find round pushers, more modern and in tone with the then-current fashion.
Scholarship was hesitant on whether cases with round pusher were made exclusively by one casemaker - Wenger. Some Vichet examples were rumoured to have appeared in the past, but no consensus had been reached. In December 2019 the question was finally closed with the appearance at Phillips New York of an example with case made by Vichet but with round pushers.
The details of the dial remain the same between first and second series (most notably, the presence of the tachymeter scale), and designs with either Arabic or baton numerals are known as well as with and without boundaries to the date ring.
Second series pieces were made, like first series examples, for about a decade mostly in the 1950s.
While any 2499 is rightfully to be considered a dream watch, pink gold examples are empyrean timepieces, object which collectors spend decades striving to acquire, and often with no success. It is not just an economic problem: the innate rarity of these watches - with a combined total output estimated at between 30 and 40 pieces throughout the Four Series: about 10% of the production - coupled with the attachment collectors feel for them, mean they hardly ever appear on the market, furthermore in such attractive condition.
