With letter dated Paris 25 October 2012 and signed by French actor Jean-Paul Belmondo and his son Paul Belmondo. In the letter Jean-Paul Belmondo certifies that the present Rolex Daytona, a reference 6263 with the serial number 2'750'397, is being sold by his son, Paul Belmondo. Jean-Paul Belmondo further confirms that it is the watch that he wore in the two films "Peur sur la Ville" and "L'Animal. " His son, Paul Belmondo, also confirms that this is the watch that his father has given to him and that his father has worn it in the two films mentioned above. Furthermore delivered with thirteen A4-format pictures taken on movie film sets, film posters or press shots mostly showing Jean-Paul Belmondo wearing the watch as well as one A4-format coloured sketch showing his son Paul Belmondo at the Trophée Andros 2010 with four
other members of the Skoda team.
As the Daytona Chronographs gain more and more appeal among the public, they end up on the wrist of many notable personalities. From the world of scientific exploration, to that of car racing, many VIP hearts fall prey to its magnetic charm.
One of the fields that, since its very beginnings, most effectively capture the attention and imagination of the great public is cinematography. A perfect showcase for a watch, the wrist of an actor can become the ultimate marketing platform in the world of horology. While it is now common practice for some watch companies to link their names to that of actors or sportsmen, the situation is not the same in the 1970s. Only if a notable personality truly likes a timepiece he wears it, increasing by reflection its appeal and notoriety with the great public. The lot here featured is one of such notable examples. In fact, the present steel ref. 6263, manufactured in 1971, was a treasured possession of renowned French actor Jean Paul Belmondo.
Already impressive for its first series case and pitch black background dial, this watch can be deemed part of Daytona history when considering the pull it must have had on the collective imagination some 30 years ago, when Mr. Belmondo used to regularly wear it. Indeed, many photographs of the time portray the actor wearing this specific chronograph, testament to the fact that this was not a watch he happened to wear once, but truly one of his favorite timepieces, like it so often happens to watch enthusiasts and their Daytonas.
As it turns out, even film directors fell under this watch's spell; recognizing it as an archetype of style and masculinity, they asked Belmondo to wear it on set. As a result, this timepiece is featured in many scenes of L'Animal and Peur sur la ville. In the case of this last movie, it is impossible not to recognize the present piece in the main poster of the movie, on which the watch is as prominent on Belmondo's wrist as the actor himself on the poster.
Son of French sculptor of Italian origin Paul Belmondo, and of French painter Sarah Rainaud-Richard, Jean Paul Belmondo is born in Neuilly-sur-Seine on April 9, 1933. As a teenager, his focus is more on athleticism rather than studies: his not overly brilliant performance at school is more than compensated by his love for soccer and boxing. Indeed, before becoming an actor, Belmondo has a short but brilliant boxing career that sees him undefeated with 3 first round KO victories during 1949 and 1950.
His beginnings as an actor see him involved in stage acting, and his debut on film arrives only in 1956, with the short film Molire by Norbert Tildian. While he is chosen for roles in important movies of the time such as À double tour by Claude Chabrol (1959) and La Ciociara (1960) directed by legendary Italian director Vittorio De Sica, his breakthrough role comes with the movie À bout de souffle in 1960 by Jean-Luc Godard, which seals his status as one of the major figures of the French New Wave. This blanket term designates the new direction some French directors and actors are taking in cinema. It is characterised by considerable experimentation, youthful iconoclasm and a desire to portray on film some more pressing contemporary social themes.