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Lot Essay
During the late 1960s and 1970s, Patek Philippe briefly turned away from its more classical inclinations and embraced a bolder, more sculptural approach to design. Lapis lazuli became a favoured material of this experimental period, its deep ultramarine tone and natural pyrite inclusions lending themselves to the integrated bracelet watches and hardstone dials that defined the era.
What distinguishes these pieces is not merely the stone itself but the way it was used: as an architectural element, extending beyond the dial to the bezel, crown, and bracelet links, creating a continuous field of colour that was integral to the overall composition rather than merely decorative. The stone was also employed to create matching sets—earrings, cufflinks, and even rings conceived alongside the watches—allowing the wearer to carry the same vivid blue across the full ensemble. For the collector, lapis lazuli from this period represents Patek Philippe at its most willing to engage with the aesthetic currents of the time, while still executing every detail to the manufacture's exacting standards.
What distinguishes these pieces is not merely the stone itself but the way it was used: as an architectural element, extending beyond the dial to the bezel, crown, and bracelet links, creating a continuous field of colour that was integral to the overall composition rather than merely decorative. The stone was also employed to create matching sets—earrings, cufflinks, and even rings conceived alongside the watches—allowing the wearer to carry the same vivid blue across the full ensemble. For the collector, lapis lazuli from this period represents Patek Philippe at its most willing to engage with the aesthetic currents of the time, while still executing every detail to the manufacture's exacting standards.