That Vianney!
by Curtis D. Thomson
© July 24, 2002
(click on all images to view a larger version)
Introduction Before there was Vianney Halter "The Brand" there was, and still is, Vianney Halter "Horological Maestro." A master of the art, science and craft of horology, Vianney found his talents leading him from his antiquarian restorations in Paris, to original constructions and modifications for many Swiss watchmaking firms. Moving to Sainte-Croix, a small Swiss village in the Jura, he was approached by a Parisian intermediary to entertain a special "one-off" job for the venerable House of Audemars Piguet. This was to be his training ground. A time where the restorer would grow into a maker of watches that would, in time, captivate his audience with complexity and bold design.
1993In Switzerland, watchmakers come "a dime-a dozen," but Audemars Piguet was not in need of a mere watchmaker. They needed someone who had theoretical and historical knowledge, superior technical skills, creative thought, relative freedom of time and a passion for the project at hand. Our mysterious Parisian intermediary had the solution. A prior chance encounter with Vianney Halter, apparently, left quite the impression. So much so, when Audemars Piguet's need was known, our Parisian sought after another of Paris' favorite sons. Always looking for interesting work, and ways to pay the bills, Vianney was quite intrigued and deliberate in taking on the AP project. In 1993, with an agreement reached, Vianney Halter began working on a special one-off piece for Audemars Piguet. There was no schedule for completion, per se, but there was a philosophy of "It would be better if done today than if tomorrow" that would take 2,700 hours, within the span of 1 1/2 years, of secluded work. The Project
Given an old Zenith Grande Sonnerie, with minute repeating, pocket watch as his foundation, he was instructed to add a perpetual calendar with retrograde months, equation of time, sunrise/sunset indication, power reserve for the movement and repeater, moon phase, modify the repeater's regulator to be visible on the dial as a "flying comet" and to modify the setting mechanism to be stem setting and winding, which also included the necessary provision to disengage the striking work during hand setting. Additionally, the all or nothing piece, which releases the 1/4 rack only when the mechanism is pushed fully home, thus, ensuring proper striking, was improved. With such additions, it is easy to understand Audemars Piguet's need for a watchmaker of superlative qualities. If this project were accepted today, Vianney may delegate various portions of the work to one or more of his five watchmakers in his employ. The use of AutoCAD, CNC machining or a host of other specialized machines, which make up one of the most well equipped workshops I have seen for an individual artist-craftsman, would certainly be called into duty. But, in 1993, Vianney Halter worked alone, with the exception of the final finishing work, and worked without the benefit of a highly equipped workshop. Indeed, this was an original construction. There wasn't any altering or borrowing of parts from other movements. All of the necessary parts were hand drafted from his own design and all of the parts were made with simple tools and a pantograph mill. 
Completion2,700 hours later, an exhausted, mentally and physically drained, Vianney Halter, presented a masterpiece of horology to the House of Audemars Piguet. We do not know to whom this watch was delivered, but I am quite sure there was nothing but great joy and praise exhalted upon receipt. In 1998, Vianney exhibited with the AHCI in Basel and has since found great notority for his celebrated line of "Vianney Halter" wristwatches. In what may now be seen as part of the Vianney Halter philosophy, he demonstrated his remarkable talents once again, with six other AHCI members, by each contributing one unique piece and a series of 175 watches, for the luxury, fine leather goods company, Goldpfeil in 2001. Ever up for a challenge, Vianney sought out the talents of Parisian designer Pascal Pages (also the designer of the buckle on Philippe Dufour's Grand & Petite Sonnerie wristwatches) to create, in my opinion, the most visually stunning pieces of all of the Academy members. So, what can we expect from Sainte-Croix next year? I wish I knew, but if history tells us anything about the Maestro, it will be fantastical... That Vianney!
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Copyright July 2002 - Mr. Curtis D Thomson and ThePuristS.com - all rights reserved
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