Montblanc Villeret 1858 Grande Seconde Retour-à-Zéro Review

Dr No · 2010-06-07T23:37:29Z

Dr No reviews the Montblanc Villeret 1858 Grande Seconde au Centre Retour-à-Zéro, detailing its design, flyback mechanism, and wrist presence.

Dr No

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Dr No (Art Dakessian) delivers an insightful "on-the-wrist" review of the Montblanc Villeret 1858 Grande Seconde au Centre Retour-à-Zéro, a timepiece he considers his dream Villeret. This comprehensive appreciation delves into the watch's immaculate execution, its flyback reset mechanism, and its undeniable presence on the wrist, offering a collector's perspective on its design and functionality.

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An on-the-wrist appreciation of the Grande Seconde Au Centre Retour-à-Zéro begins with an overview of the watch itself. The R-à-Z is an immaculately executed three-handed watch equipped with a flyback re-set mechanism that allows the owner to accurately and consistently set the time. Even though it's not explicitly marketed as such, this configuration is one that intuitively belongs to the category of observatory designs. A classical movement design imbued with justifiable complexity is one that I can find favor with, so when Anthony asked which Villeret I found most interesting, my response was unequivocal. Many thanks to Montblanc for allowing the pleasure of wearing my dream Villeret for a month. Here's what I found.

Montblanc Villeret 1858 Grande Seconde au Centre Retour-à-Zéro - an "On-the-Wrist" Review

By Art "Dr No" Dakessian

First, the Grande Seconde version is undeniably large by anyone's standards. The specified diameter of 47 mm infers a decision . . .

. . . to accept its considerable size. There is a version with a different base movement at a more manageable diameter of 41 mm, but the Grande version is objectively tolerable on my slender wrist. Here are profile photos taken from different perspectives:

These photos convey the sense of proportion that Montblanc's designers imparted . . . the objectively large size of the case is ameliorated by the relative height, the gently rounded contours, and the hue of rose gold, all of which serve to make its appearance manageable on most wrists. The crown is usefully and pleasingly proportioned to the case. The overall dimensions are driven by the size of the base cal 16-18 movement of 38.4 mm x 6.3mm, but as can be seen by this photo, the movement is proportional to the case:

A compensating ring or case design would've been cause for criticism, so I feel it's only fair to applaud Montblanc for crafting the Grande Seconde with an eye for both proportion and mechanical integrity.

The dial design complements the movement in it's pursuit of extracting the greatest level of accuracy possible. The ability to consistently set the seconds hand to zero by pulling the crown should be obvious to the casual observer. What is not quite so immediately obvious is the manner in which the dial and hands layout similarly facilitates time-setting duties. In this photo . . .

. . . you can see the tip of the seconds hand set to the outer edge of the track, while the minutes hand is precisely set to the inner edge, and the hour hand is circumscribed within the hour track. In the next two photos . . .

. . . the minute hand is clearly sweeping right over the marker, and lined up with the stroke on inner minute marker track. The effect is subtle, but contributes to legibility.

My previous sentiments about the dial were transformed shortly after receiving the Retour-à-Zéro. What at first glance seemed unnecessarily ornate revealed itself to be art in the service of functionality. The central positioning of the hour chapters is, on reflection, a brilliant move on the part of the designer(s) to absorb the vast open space of the dial. The juxtaposition of a short hours to a long minutes hand seems slightly odd until the utility for the placement of the hour chapter was realized. The acclimation process was surprisingly brief, and the initial aesthetic impression left by the two distinctive varieties of engraving with oddly proportioned hands quickly gave way to admiration. If the purpose of a watch is to tell time, and the raison d'être of an exquisite watch is to tell time in a correspondingly exquisite manner, then Montblanc succeeded admirably.

Montblanc's métier is movement construction and finishing . . .

. . . which proved magnificent to the unaided eye, and delectable under magnification. Every visible surface is finished to an exceedingly high level of the watchmaker's art.

Two comments. First, the construction of the cal 16-18 movement conveys an impression of indelible solidity. With some highly finished movements, the attention is first drawn to the details. Not so with the Retour-à-Zéro. The structure itself commands interest. The word "magnificent" comes to mind, and in my opinion, wholly deserved. The architecture, proportions, and most critically, the absolute size of the movement is simply remarkable.

Second, the finishing, while of the highest level, does not overwhelm as some others. The Minerva movement is more seductive than mesmerizing. It doesn't dazzle with intensity; rather, it beckons with a radiant glow.

I'm not sure what to attribute this to; what I can say is that comparisons with other lauded movements will not come up short in any objective sense. One can validly question the comparative intrinsic value of the Minerva movements in the Villeret line, but judging from this and other examples, they can stand up in direct comparison with any production movement under magnification. I've used the analogy of Rubens and Vermeer before . . .

. . . and it bears repeating here.

These close-ups of Minerva chronograph cal 13 - 21 movements . . .

. . . serve to illustrate my point, namely, that the movements offered by Montblanc Villeret reflect established modalities of Swiss movement construction at the highest level.

Wearing the Grande Seconde Retour-à-Zéro for a month fostered a sense of déjà-vu. I've never carried a pocket watch, but the size, massiveness . . .

. . . ornate dial, voluptuous proportions, and movement construction made me feel as though I were carrying one. There is not a hint of casualness about it. Anyone considering this particular model should not expect to feel an urge to strap it on for a foray to the beach, race track, corner pub, or golf course. The Retour-à-Zéro is a watch that commands respect. The hinged back (seen above), actuated by pressing on a latch hidden . . .

. . . under the alligator covered bridge between the lugs, undoubtedly contributes to that sense. This is, first and foremost, a venerable watch.

The considerable weight of the Grande Seconde incurred one distraction. The tang buckle . . .

. . . was secured to the shortest hole on the strap, but even on that tight setting, it still shifted on occasion. Considering that one of the consequences of the design is that an owner must turn to Montblanc for replacement straps to maintain aesthetic continuity with the upholstered section between the lugs, my sense is that Montblanc could turn this limitation into an advantage by supplying each Grande Seconde with an unpunched strap secured by a double-fold deployant, which would permit the boutique an opportunity to precisely tailor the strap for an ideal fit that will be resistant to the shifting I experienced.

The complication offered by the cal 16 - 18 movement is what elevates the Retour-à-Zéro from being merely outwardly beautiful. The facility to set time precisely with absolute consistency is the quality that induced an ineffable bond during my brief stay. Its execution with a visibly complex mechanism that employs a hammer and clutch is what makes the Retour-à-Zéro special. If the purpose of a watch is to tell time accurately and consistently, then the operational aspect of setting time accurately and consistently has been developed in the Retour-à-Zéro to an exceptionally high level. The observed deviation was a gain of 2 seconds per day, which I consider excellent performance. The point of the design and construction of the watch, though, is not the result but rather the path taken. Had the results been marginally different, the gestalt of the watch would've remained intact from my perspective. That the Grande Seconde Retour-à-Zéro exudes elegance . . .

. . . is inarguable. Cordially, Art

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Comments, suggestions, and corrections to this article are welcomed.

This message has been edited by AnthonyTsai on 2010-06-07 23:51:16 This message has been edited by mkt33 on 2010-06-14 07:15:34

About the Montblanc 1858 Collection Ref. 1858

The Rolex Bubble Back, reference 1858, represents an early example of Rolex's self-winding waterproof wristwatches. This reference is part of the broader Bubble Back family, characterized by its distinctive domed case back designed to accommodate the thicker automatic movement of the era. It showcases Rolex's foundational efforts in developing robust and reliable automatic timepieces for everyday wear, laying groundwork for future Oyster Perpetual models.

This particular reference features an 18k white gold case, measuring 38mm in diameter. It is fitted with a sapphire crystal, protecting a silver dial. The watch is powered by an automatic movement, specifically the Boucheron 1858 caliber, offering a power reserve of 42 hours. The fixed bezel and leather strap complete the watch's classic presentation.

For collectors, the reference 1858 holds interest as an early and relatively rare iteration within the Bubble Back series, especially in white gold. Its larger case size for the period also makes it appealing to modern tastes. The presence of a date complication adds to its functionality, distinguishing it from simpler time-only Bubble Back models and highlighting Rolex's early integration of practical features.

Specifications

Caliber: Boucheron 1858

Case: 18k white gold

Diameter: 38mm

Dial: Silver

Crystal: Sapphire

Key Points from the Discussion

The Montblanc Villeret 1858 Grande Seconde au Centre Retour-à-Zéro, despite its large 47mm case, maintains excellent legibility and a design that evokes observatory watches, achieving impressive accuracy of two seconds deviation.
Montblanc's partnership with Minerva has enabled the creation of innovative models like the Retour-à-Zéro, Grande Chronographe Regulateur, Exotourbillon, and Metamorphosis, demonstrating their commitment to high watchmaking.
The watch's design, with its separated hours, minutes, and seconds, offers the legibility of a Regulateur, which is appreciated for its practical time-reading benefits.
The hinged back and the leather covering between the lugs on the Grande Seconde are an artful solution to conceal the latch and fill what would otherwise be a cavernous gap, though it limits strap options.
The impressive two-second deviation of the watch is attributed to Montblanc Villeret's in-house components, including proprietary mainspring wire, custom balance wheels, escape wheels, anchors, and chrono column wheels, all meticulously regulated.
The Villeret 1858 Grande Seconde is best suited for elegant occasions rather than casual wear, due to its serious beauty, mesmerizing dial, and exquisite movement finishing with Minerva's signature arrow motif.
The size of the Montblanc Villeret 1858 Grande Seconde is not a detractor, as Minerva historically produced large watches, and the movement, dial, and elegantly shaped case are highly commendable.

The Discussion

patrick_y

Jun 8, 2010

Big watch, big movement, and big interest.

Thank you Art for not only the perfect review, but perfectly agreeable review. I say agreeable because I share the exact same sentiments as you regarding the undeniable qualities of this Montblanc Villeret timepiece. Regarding the case size, your thoughts are exactly the same thought as mine, the case is large and daunting. It makes the watch quite a statement piece. You noticed something that escaped me, the size of the dial and the perfect length of the hands as their radius touch just the edg

Dr No

Jun 8, 2010

That the aesthetics are, as you say, "a bit too delicate . . .

. . . despite its large size", is precisely the reason why the R-à-Z succeeds aesthetically, even on my slender wrist. Thank you, Patrick, and hope to see you soon at one of our gatherings . . . most cordially, Art

timerider

Jun 8, 2010

Beautifully crafted review Art, really a great read and quite a

captivating watch. I liked your comparison to a pocket watch, very true indeed. Thanks for real quality writing and great photographs. Best, Tim

Dr No

Jun 8, 2010

Thank you, Tim . . .

. . . it was a pleasure to "borrow" the R-à-Z for a spell, partly because it exudes a pocket watch aura . . . cordially, Art

AnthonyTsai

Jun 8, 2010

Thanks for the review Art

Wonderfully written. After wearing this 47mm refined beast on the wrist for an entire month, has your view on large watches changed at all? Do you think you are more tolerant of watches of this size? Cheers, Anthony

Dr No

Jun 8, 2010

There have always been a few large watches that . . .

. . . skirted the "invisible barrier", and this particular R-à-Z is probably the most successful due to, as Patrick points out, its aesthetic delicacy. Still, when all is said and done, my instinctive preference would be for the standard model in a 41 mm case, preferably in white gold with a black dial . . . cordially, Art