Berthoud, Ferdinand

• 銅製全夾板，芝麻鏈傳動裝置，特別棘爪擒縱機構，擺輪擒縱輪軸，六個防摩擦大齒輪 • 三個啞光銀面鐘盤顯示小時、分鐘及秒數，羅馬數字顯示小時，棘輪鈕鎖啟動擺輪 • 上釉視窗透視擺輪，桃花心木盒，銅製裝飾及把手 • 鐘盤夾板印有標誌及編號
* 拍品資料以英文圖錄為準。

CASE Wooden exterior box in overall good condition with some wear to the corners. Gimbals are damaged and chronometer does not sit correctly; the gimbals look to have been removed at some point in the clocks life and not centered, and the interior of the box has newer felt. Fast lock for the gimbal broken at 9 o'clock. Scratches overall, some loss of gilt overall. DIAL Individual dials in good condition. Dial for hours with semi-circular scratch from 3 o'clock to 6; this scratch continues onto the dial plate through the signature. Minute and second dials with light scratches. The dial plate with oxidation and some wear. Dial plate click spring in need of tightening. MOVEMENT The movement is running at time of cataloging, however it was not tested for the accuracy of time or duration of the power reserve and may need service at the buyer's discretion. Please note that Sotheby's does not guarantee the future working of the movement. Please note that the box is 19th Century, and was likely associated at a later date.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. All dimensions in catalogue descriptions are approximate. Condition reports may not specify mechanical replacements or imperfections to the movement, case, dial, pendulum, separate base(s) or dome. Watches in water-resistant cases have been opened to examine movements but no warranties are made that the watches are currently water-resistant. Please note that we do not guarantee the authenticity of any individual component parts, such as wheels, hands, crowns, crystals, screws, bracelets and leather bands, since subsequent repairs and restoration work may have resulted in the replacement of original parts. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue. In particular, please note it is the purchaser's responsibility to comply with any applicable import and export matters, particularly in relation to lots incorporating materials from endangered species.NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

**Please be advised that bands made of materials derived from endangered or otherwise protected species (i.e. alligator and crocodile) are not sold with the watches and are for display purposes only. We reserve the right to remove these bands prior to shipping."

Ferdinand Berthoud (1727-1807) was born in the Swiss Jura and left for Paris following a three year apprenticeship to his brother, Jean Henri.  After arriving in France, it is thought that he worked for the great horologist, Julien LeRoy (1686-1759). At the early age of 25, Berthoud made a clock with perpetual calendar that also indicated mean and solar time, which he presented to the Académie des Sciences.  Their approval helped Berthoud establish himself as a highly acclaimed horologist. His output of clocks, watches and marine chronometers was astonishing, as was his insatiable appetite for writing on the subject.

Berthoud received the title of Master Watchmaker in 1754, and dedicated the rest of his life to studying and developing accurate marine chronometers. In 1764, he received the title of Horologer de la Marine; a post particularly esteemed at a period when the race to construct a timepiece capable of finding longitude at sea was of critical importance. His new title was accompanied by a handsome salary, which helped support his continued experimentation on precision clocks. 

King Louis XV appointed him to visit London to observe John Harrison’s famous H4. Harrison, suspicious that Berthoud would use his knowledge for the benefit of the French Navy, only showed him H1, H2, and H3. Regardless of this set-back, Berthoud established several key relationships on this trip, and on his second visit in 1765, met with Thomas Mudge, who described the working principles of H4 without showing it to him.

Berthoud returned to France with an understanding of the new British technology, and designed two marine clocks which were successfully used on a number of voyages by the French Navy. From then on, he produced all marine clocks and watches used on the King's ships, dedicating nearly 50 years to the study of accurate marine chronometers. He experimented with multiple design variants, beginning early on with weight driven chronometers, and then moving to spring-powered chronometers.  He later built compensating mechanisms into the balance itself. In all, Berthoud produced between 70 and 80 marine chronometers, of which several important examples reside in the Conservatorie des Arts et Métiers, in Paris. For detailed information on Berthoud's life and work see Hans Von Bertele, Marine and Pocket Chronometers, pp. 42-43, and Rupert T. Gould, The Marine Chronometer, pp.126-166.

The presently offered marine chronometer is a remarkable appearance of what seems to be a previously unknown Ferdinand Berthoud Marine Chronometer.  Its specific variation on temperature compensation and the unusual numbering system employed highlight this as a truly rare piece.

The temperature compensation employed is seen on some of Berthoud’s pieces, and includes what appears to be an original large bimetallic compensation blade across the top of the movement, designed to provide a rotative action on a pivoting curb on the balance spring when the temperature changes, and is thought to be based on one of Berthoud’s earlier compensation systems.

Of further note is the fact that this chronometer has a roman numeral serial number suggesting that Berthoud may have used two separate numbering systems for his chronometers; one series using Arabic numerals, and another using Roman numerals.  No. XXXII, a Berthoud chronometer in the permanent collection of the Conservatorie des Arts et Métiers in Paris, shares some of the same features as the present piece,  including dial layout, temperature compensation set-up and numbering sequence.  For an illustration of no.XXXII, see Hans Von Bertele, Marine and Pocket Chronometers, p. 140, figs. 120 a & b.