he timing could not have been better: marking the tenth anniversary of the revival – driven by Karl-Friedrich Scheufele – of the Ferdinand Berthoud name, the Fleurier-based brand is announced its Naissance d’une Montre, named after the project launched under the auspices of the Time Æon Foundation. After the first opus created by Philippe Dufour and Michel Boulanger, which sold for over CHF 1 million at auction; followed by a second piece from Urwerk, Greubel Forsey and Oscillon, this third episode is spearheaded by Ferdinand Berthoud, using entirely traditional methods.

“In 2014 we discovered the Naissance d’une Montre project, thanks to Stephen Forsey and Philippe Dufour,” recalled Karl-Friedrich Scheufele in presenting the first model in the new series in Geneva. We then followed the second creation. Compared to the first two projects, we had the idea of including a larger number of artisans from different fields, ultimately bringing together more than 80 team members [from Chronomtrie Ferdinand Berthoud and Chopard] to work together on a single project.”

Coinciding with the tenth anniversary of Chronométrie Ferdinand Berthoud, Naissance d’une Montre 3 is a particularly ambitious dream nurtured by the Maison’s founder and president Karl-Friedrich Scheufele.

A new structure, the Atelier Tradition, was formed within the Fleurier-based Manufacture,equipped with vintage machines, which were restored in line with modern standards. Inaugurating a project that is set to continue, a total of 11 Naissance d’une Montre 3 watches bearing the Chronométrie Ferdinand Berthoud signature will be produced. The first will be auctioned by Phillips in Association with Bacs & Russo in November, with the other ten already reserved by major collectors around the world.

The thrill of great determination

“Where there’s a will, there’s a way!” says Karl-Friedrich Scheufele, who has shown just as much determination in seeing this project through to completion since it began in 2019 as he has in reviving the Ferdinand Berthoud name over the past decade. He was clearly very moved when, surrounded by his family, his team surprised him with a birthday cake in the pop-up shop set up for the occasion in downtown Geneva. Through the birth of this watch, the rebirth of a name, and indeed his entire career, which notably marked the opening of Chopard Manufacture in Fleurier in 1996 (see the Generations feature in Europa Star 1/25), he belongs to a fine and longstanding tradition.

“We are proudly presenting a finished timepiece, which we hope will write watchmaking history,” he continued. “This is a very emotional moment for me. The proceeds from this sale will be used to train people who love watchmaking as well as to support those who teach both watchmaking and micromechanics. It is a great honour to present this watch for the rebirth of Ferdinand Berthoud.” The tenth anniversary is also being commemorated by the release of a book published by Assouline.

Naissance d’une Montre, Chapter Three

Inspired by Ferdinand Berthoud’s Astronomical Pocket Watch No. 3, crafted by Jean Martin in 1806, this exceptional wristwatch, chronometer-certified by the COSC and entirely handcrafted using traditional tools and without digital assistance in accordance with the rules of the Time Æon Foundation, features a wealth of technical and aesthetic characteristics reflecting the noblest traditions. It represents “le temps qui instruit” [time the great teacher] in the words of Ferdinand Berthoud’s nephew, Louis Berthoud.

Astronomical Pocket Watch No. 3 by Ferdinand Berthoud, made by Jean Martin in 1806.

This edition of 11 contemporary timepieces is powered by a unique combination of a split bimetallic thermal-compensation Guillaume-type balance with a constant-force fusee-and-chain system. Housed in an 18k gold case measuring 44mm in diameter, this movement is entirely visible on the dial side.

After 11,000 hours of work and six years of effort, the first example of this extraordinary project has seen the light of day. It drew on all the in-house know-how and expertise of the various specialisms exercised in Fleurier and Meyrin: design and engineering, laboratory, foundry, mechanics, micromechanics, jewellery, polishing, decoration and watchmaking. A database of thousands of photos and videos was also painstakingly compiled to illustrate and explain the methods used to create each of the watch’s movement and case components.

Naissance d’une Montre 3 belongs to a tradition of learning and passing on expertise that was cherished by Ferdinand Berthoud and his talented pupil and nephew Louis Berthoud (1754-1813). In 1812 Louis Berthoud published a book recounting the watchmaking lessons he gave to the four students entrusted to him by the government, entitled Entretiens sur l’horlogerie à l’usage de la Marine (Discussions on Watchmaking for the Navy). Louis Berthoud concludes his account with the following sentence:

“[...] to achieve great precision, they [his students] need only time and experience [...]” and ends with the words: “AU TEMPS QUI INSTRUIT” (to time the great teacher). This maxim is hand-engraved on the back of the movement.

The Atelier Tradition workshop

“The aim was not to adapt the aesthetics of the collection to what could be done using traditional methods, but rather to take the opposite approach by adapting the means and machines to achieve the desired result,” says Jonathan Richard, Head of Marketing and Communications at Chronométrie Ferdinand Berthoud. “Nor did we intend to compromise our quality standards by switching to handmade production; the requirements and tolerances were the same as for all our other models. Like each one of them, this model is also chronometer-certified by the COSC.” Established in Fleurier in 2021, the Atelier Tradition employs three micro mechanical engineers working on restored machine tools. All movement components are produced there. At a rate of two timepieces each year, the workshop will be busy for the next five years.

Daniel Bolognesi, head of the Chopard Group’s watchmaking department with special responsibility for passing on horological expertise, found the traditional machine tools needed to equip this workshop. However, they still needed to be restored to working order and mechanical engineers capable of using them had to be found. “Just like Mr Berthoud in his day, we paved the way by developing our own tools,” says Vincent Lapaire, General Manager of Chronométrie Ferdinand Berthoud.

“We are also delighted to see that there are many young people working in our workshop.” Auctioneer Aurel Bacs, who will bring the gavel down on the first of the 11 timepieces, marvels at these tools made before the advent of computers: “Making a watch in the twenty-first century like they did in the eighteenth century is a bit of a crazy gamble. Generations will benefit from this project, which has never been undertaken for commercial purposes or out of vanity, but instead to preserve traditional skills. It is an expression of the chronometer in its purest and least ostentatious form.”

Showcasing heritage in the 21st century

This definition can be applied to the entire – very rare – production of Chronométrie Ferdinand Berthoud since its revival in 2015. Recognition came early on, with the “Aiguille d’Or” award received at the GPHG just one year later for this undertaking, in which Karl-Friedrich Scheufele was personally involved.

The project is the culmination of a longstanding commitment that began in 2006 when Chopard opened the L.U.CEUM museum retracing the history of timekeeping and continued with the acquisition of Ferdinand Berthoud’s Astronomical Clock No. 3. The latter proved a catalyst, as this is also when the rights to the name of the man who was born just five minutes from the current Manufacture in Fleurier were purchased, albeit without any clear idea of what would become of them. It would take ten years of research to produce the first contemporary watch bearing the Chronométrie Ferdinand Berthoud name: the FB1 launched in 2015.

The rules of conduct were clear right from the outset: what kind of watch would the great watchmaker have developed today with the kind of tools that would now be available? This was to be a modern interpretation of chronometry, not a reissue of an historical marine chronometer. The style focuses on the essence of precision measurement. It stands out for its purity, without superficial decoration. As much an aesthetic wager as a technical one, it proved to be a winner – and much sooner than its creators had imagined. Ferdinand Berthoud’s name reappeared in all its glory.

Four patents were filed for the mobile-cone power-reserve system, the mounting of the barrel and of the suspended fusee, as well as the central seconds display featuring an inverted tourbillon. The highly contemporary octagonal case of the early models was a strong identifying feature that polarised opinions. In 2020 a new circular case was introduced for the FB2, while retaining the main principles established five years earlier. On the limited-edition skeleton tourbillon regulator, collectors can choose between the two types of case. Production is very limited – fewer than 400 new-generation Ferdinand Berthoud watches have been produced in ten years – and reservations are currently being taken until 2028. The FB3 collection is presented this year in a new platinum version, again in two colours: a more classic iteration in pink tones and a contemporary black PVD execution.

No fewer than nine exclusive calibres and three collections have been presented since 2015: the Chronomètre FB1 with its iconic octagonal case; the FB2 collection whose geometry reinterprets the shape of marine clocks; along with the FB3 inspired by the longitude watches created by Ferdinand Berthoud. To mark the tenth anniversary of Chronométrie Ferdinand Berthoud, the FB 3SPC collection with cylindrical balance spring is being expanded with a strictly limited edition of platinum timepieces.

The reinterpreted fusee-and-chain transmission and the one-second remontoire usher Ferdinand Berthoud’s spirit into the twenty-first century. During his lifetime, the master watchmaker had devoted much thought to passing on his knowledge, including by writing numerous treatises. Yet his work would still need to be echoed and pursued by spiritual heirs right the way through to the far-distant year 2025. Could he ever have imagined that would actually happen?