The Patek Philippe Star Caliber 2000 stands as one of the most technically ambitious pocket watches of the modern era. Launched to mark the turn of the millennium, it was the fourth most complicated watch in the world at its debut, but its true significance lies not in numbers, but in the ingenuity of its mechanisms, which redefined how grand complications could be conceived, engineered, and executed.

An original complete set of four Star Caliber 2000 watches is being offered for sale by Sotheby’s at its first-ever watch auction in Abu Dhabi, which takes place in December. The first complete set to ever appear publicly, the sale will likely draw significant attention from collectors and institutions alike.

The technical significance of the Star Caliber 2000

The Star Caliber 2000 was and is a remarkable achievement in watchmaking, but it was never the world’s most complicated watch. When it debuted, the Star Caliber 2000 ranked fourth in the official tally of complications, behind the Patek Philippe’s own Caliber 89 and the famous Henry Graves Super Complication from 1932, as well as the lesser-known Leroy 01 from 1904.

Over the past quarter century, the Star Caliber 2000 has fallen down the rankings as more complicated watches, for both the pocket and the wrist, have been developed by Vacheron Constantin and Audemars Piguet.

But the Star Caliber 2000 should not be judged solely by this kind of ranking, which is largely superficial. The watch is packed with a number of groundbreaking functions and features six patents (four relating directly to complications and two to utility devices) that have resulted in a significant change to our understanding of how super-complications can be designed.

Moreover, the Star Caliber 2000 is currently the last super-complication pocket watch developed by Patek Philippe, and remains a benchmark reference in contemporary watchmaking. 

The most sonorous complication is the grand sonnerie with five gongs, which strikes in the same pattern as Big Ben (and the other bells) in Elizabeth Tower in Westminster. When the grand sonnerie is activated, the quarters always strike first, followed by the hours. The minute repeater also sounds in an unusual order: first the quarter chimes, then the minutes, and finally the hours. 

Another outstanding feature is its namesake star chart with orbital moonphase, the first complication of its kind, later seen in the Sky Moon Tourbillon ref. 5002 and Celestial ref. 5102. 

Like many great masterworks of haute horlogerie, the Star Caliber 2000 was a team effort. Patek Philippe enlisted legendary case maker Jean-Pierre Hagmann to produce the case, which was hand engraved by Christian Thibert.

The contribution of the watchmaking team, led by Jean-Pierre Musy, who assembled and precisely adjusted each movement from 1,118 elaborately finished components, cannot be overstated. 

Details on the present lot

Patek Philippe produced five four-watch sets of the Star Caliber 2000, adding up to 20 pieces in total. One set featured all four pieces in platinum, while the other four sets featured watches in yellow gold, rose gold, white gold, and platinum. The production run began with movement number 3’200’001 and ended with number 3’200’020.

The current lot is the fifth set of Star Caliber 2000 watches, marked with movement numbers 3’200’017 to 3’200’020.

For completeness, it should be added that Patek Philippe made at least one prototype, possibly two judging by the serial numbers. The Star Caliber 2000 prototype displayed at Patek Philippe’s Grand Exhibition in Singapore in 2019 bore the serial number 3’200’022, which is outside the numbering range of the production models. 

It is also important to note that the second set of Star Caliber 2000 watches, numbered 3’200’005 to 3’200’008, has been broken up, as the first watch from this set, in 18k yellow gold, was sold by Christie’s in 2012. 

The Star Caliber shown at exhibition with movement number 3’200’022. Image – Patek Philippe

Valuing a unicorn

The original retail price of the Star Caliber 2000 set, comprising three gold timepieces and one in platinum, was CHF13.2 million in 2000, equivalent to about US$7.5 million at the time and roughly US$14 million today.

Since then, just one example has surfaced: a piece in yellow gold bearing the movement number 3’200’005. It was offered by Christie’s in late 2012 and sold for about US$3.3 million, near the middle of its estimate, which works out to about US$4.5 million today. 

The estimate for the current lot is in excess of US$10 million, which seems reasonable given it’s a complete original set of all four watches. That said, with so few relevant precedents (seven-figure watches are rarely sold in sets as is the case here) its fate will not be certain until the hammer falls.

An auspicious venue

The December watch auction is Sotheby’s first in Abu Dhabi, and comes after ADQ, the emirate’s sovereign investment fund, acquired a minority stake in the firm in late 2024. While many details remain confidential, it was widely understood that Sotheby’s would be obliged to hold auctions in Abu Dhabi as a condition of the investment. With so much attention on this inaugural sale, expect a strong showing.

For more, visit Sothebys.com.

Autumn has always been a special time in New York, and that’s especially true now that the city plays host to the nation’s flagship watch fair. Held each October in the heart of Midtown, WatchTime New York has become one of the most high profile public watch fairs in the United States, bringing together independent watchmakers, major brands, and collectors under the imposing dome of Gotham Hall.

Now in its tenth year, the 2025 edition was the largest yet, and served as the backdrop for the public unveiling of a few notable watches (and one strap).

The Greubel Forsey Hand Made 2.

Initial thoughts

This was my third year attending WatchTime, and the experience is remarkably consistent from year-to-year. That said, this year’s event was clearly the biggest yet, with 44 brands and more than 2,700 visitors.

Despite this turnout, it’s still a fraction the size of an event like Watches & Wonders, which gives it a more intimate feel that reminds me of SalonQP, which was an annual watch fair in London put on by now-defunct QP magazine.

In other words, it’s big enough to attract big names and small enough to allow the general public to meet watchmakers that they might not otherwise have access to; Kari Voutilainen, Stepan Sarpaneva, Martin Frei of Urwerk, Albert Edelmann of Zeitwinkel, and Roland Murphy of RGM were present throughout the fair to engage with collectors.

A big turnout

Not only did WatchTime attendance set a record, the nearby Windup Watch Fair, a free event focused primarily on entry level watches and micro-brands, saw big numbers. In fact, at points throughout the weekend the queue to get in snaked all the way around the block. It wouldn’t surprise me if Windup starts charging admission in the future, simply for crowd control.

In light of the big turnout, the mood seemed bright. The watch market is facing a challenging moment, but the enthusiasm for both events was palpable.

New products

A highlight of the fair was the chance to see novelties from the likes of Breguet, Urwerk, Voutilainen, Zenith, and Ming. Ming’s new release was not actually a watch, but in fact a 3D-printed titanium “Polymesh” watch strap (or bracelet, depending on who you ask). Designed to fit any Ming with 20 mm lugs, the Polymesh strap drapes on the wrist like a bracelet but offers the flexibility of fabric.

Comprised of 1,693 articulating titanium components, the strap is made without any pins or screws; the entire construction is fabricated in one piece using a laser to sinter powdered titanium one layer at a time. The durability of such a construction is a natural question, but the prototype on display was apparently untroubled by the rough handling of hundreds of visitors to the Ming booth.

Another new product making its public debut was the Zenith Defy Zero G, which features a sapphire crystal case and the brand’s gimbaled escapement, which keeps the balance parallel to the ground at all times. Serving somewhat the opposite function of the tourbillon, the Gravity Control escapement module keeps the oscillator in a stable position, simplifying adjustment.

Another watch making its public debut was the Urwerk UR-10 Spacemeter. Co-founder Martin Frei was on hand to explain his latest design, which tracks Earth’s rotation and revolution. The UR-10 has a lot in common with the UR-100, featuring the same base movement and a similar tapered titanium bracelet. Beyond the intriguing functionality, the silky lightweight bracelet is a standout feature.

Interestingly, the case is not all titanium; it features a steel case back to offer colour contrast on the winglets on either side of the case. The heavier case back also helps lower the watch’s center of gravity, which contributes to a stable feel on the wrist despite it looking a bit large.

I’ve written extensively about Albishorn, covering each of the brand’s models to date, but this was my first time going hands-on with the Maxigraph, a collaboration with Massena LAB. The movement traces its roots to the Valjoux cal. 7750, but founder Sébastien Chaulmontet redesigned it for better tolerances, substantially reducing the movement’s thickness and improving the feel of the chronograph monopusher (relocated to the nine o’clock position).

The pusher feel is short and crisp, as advertised, and the entire package is coherent with the brand’s ‘imaginary vintage’ theme.

Watchmaking in action

There are usually a few demonstrations going on throughout the fair to show off the work that goes into the watches. This year, Breguet and RGM had ongoing demonstrations of movement finishing. On the ever-present topic of inner angles, Breguet had a watchmaker on hand who was beveling neat corners for the mainplate of a Classique Tourbillon Extra-Plat Squelette ref. 5395. The watchmaker’s deft actions were broadcast on a large screen, exhibiting confident dexterity.

I happened to walk by the Breguet booth at a moment when the watchmaker was nearly done with the current workpiece, and the next one on deck was sitting out. It reveals how much work is already done – probably by wire erosion – before finishing begins; several openings already revealed the makings of crisp corners.

American watchmaking was also represented, with RGM attending from (comparatively) nearby Lancaster, Pennsylvania, showing the finishing that is applied to the brand’s higher-end products.

It was nice to see Mr Murphy himself present throughout the fair; these events require a lot of endurance for exhibitors and its a testament to the growing importance of WatchTime New York that so many brand founders put in the work to attend.

Concluding thoughts

While much of the conversation around the watch industry in 2025 has focused on economic uncertainty and shifting demand, the energy at WatchTime New York painted a somewhat rosier picture. Collectors queued around the block and were rewarded with a good turnout from the brands, which saw fit to exhibit some of their newest and most exotic watches.

Having witnessed the demise of events like Baselworld and SalonQP, I hope the enthusiasm on display at WatchTime will continue.

On Episode 16 of the SJX Podcast, SJX and Brandon discuss ongoing horology events in Paris and Singapore, and debrief on the new Piaget Andy Warhol.

It’s also the debut of a new segment comparing two watches head-to-head. First up is the Ulysse Nardin Freak – how does the original, now 25 years old, stack up to the new Freak S?

Listen on Apple Podcasts, Spotify, and Youtube.