Welcome back to Frank's Watch Talk, everyone. Today, we're diving into a story that, honestly, feels almost too uncanny to be true. Frank, you’ve hinted before about your family’s creative streak, but this time, we’re going way back—like, Renaissance-era back. So, Frank, tell us how your search for a family legacy led you to, well, a merchant in a painting?Yes, Eric, it’s a bit wild, isn’t it? You know, when I started BWG Bavarian Watch, people kept asking about the brand’s history. And, honestly, as a company founded in 2022, I had to laugh a little. There was no grand old story—at least, not at first. So, almost as a joke, I started poking around for some lost ancestor I could claim, like the big brands do. But, you know, just for fun.That’s such a classic move, though. Everyone wants a good origin story, right? But you actually found something, didn’t you?Exactly! I mean, my immediate family—lots of photographers, creative types, but nothing that screamed “watchmaking dynasty.” Then, out of nowhere, I stumble on this ancestor, Georg Giese. Or Gisze, if you use the Polish spelling. He’s immortalized in this famous portrait by Hans Holbein the Younger, painted in 1532. I’d seen the painting before, but I never really looked at it, you know?So, you’re telling me, you’ve got a direct line to a guy who’s basically the poster child for Renaissance trade, and he’s sitting for Holbein? That’s not your average family tree.No, not at all! And what’s even crazier is the stuff in the painting. Holbein didn’t just paint Georg with random objects. Every item on that table was chosen for a reason—trade goods, a Venetian vase, and, most importantly for us, a portable clock. And here’s the kicker: at that time, those clocks were only made in Bavaria. So, my ancestor, in London, with a Bavarian clock, and now I run BWG Bavarian Watch. It’s almost too much, right?It’s like the universe was dropping hints centuries before you were born. But let me ask you, Frank—how much do you think a brand’s authenticity comes from these kinds of stories, versus, you know, the actual product?That’s a good question. I mean, I always believed in honest design, not just leaning on some old story. But when you find something like this, it does make you wonder if there’s more to it. Still, for me, it’s about creating something original. The family creativity, the art, maybe it’s all connected, but I didn’t set out to build a brand on a legend. It just... happened.And that’s what makes it so fascinating. Sometimes, the best stories are the ones you don’t even know you’re living until you look back. All right, let’s dig into that painting a bit more, because there’s a lot going on there.So, Holbein’s “The Merchant Georg Gisze”—I’ve seen the digital version at the Gemäldegalerie in Berlin, and honestly, the details are just stunning. Frank, when you look at that painting, what stands out to you?Oh, so much! The whole scene is like a snapshot of 16th-century business life. You’ve got the wood-paneled room, the Turkey rug, all these objects—money, scales, inkpots, even scissors. But the clock, that’s the real showstopper for me. It’s a "dosen-watch", a golden can watch, and art historians say it’s the first portable clock ever shown in a painting. And it’s from Bavaria! That detail just blows my mind every time.It’s wild, isn’t it? And the symbolism—there’s so much packed in. The vase of carnations, for example, might be about his engagement, but then you’ve got the Latin motto on the wall: “No joy without sorrow.” It’s like Holbein wanted to remind us that even in all this wealth, time is fleeting, and happiness is never simple.Yes, exactly. And the way Holbein painted it, nothing is quite as stable as it looks. The table’s a bit off, the objects are almost teetering. It’s like he’s saying, “Look closer, things aren’t always what they seem.” And that motto—nulla sine merore voluptas—really hits home. Even with all this success, there’s always a bit of melancholy. It’s a very human message, I think.And seeing it in person, you notice things you’d never catch on a screen. The textures, the way the light hits the gold on the clock, the little imperfections. It’s almost like Holbein was showing off, but also telling us, “Hey, this is real life, not just a fantasy.”Absolutely. And for me, knowing that my ancestor sat for that, surrounded by these symbols, it’s a reminder that time, beauty, even success—they’re all temporary. Maybe that’s why I’m so drawn to designing watches that feel both modern and timeless. It’s about capturing that fleeting moment, you know?It’s a powerful connection. And it’s funny, because as we talked about in our last episode, BWG isn’t about copying the past, but there’s this thread running through—art, history, and a bit of luck. Speaking of luck, let’s talk about how BWG ended up in London, because that’s another twist in the story.So, Frank, you’ve got this Bavarian-named company, but it’s based in London. And if I remember right, that wasn’t exactly a master plan, was it?No, not at all! It was pure chance. I’d just finished my first designs, posted them on Instagram, and suddenly I get this call from WatchPro about a Christmas event on Regent Street. I was excited, said yes immediately, but then realized—oh, I don’t even have a company yet! My tax advisor said, “You need to set up a limited company, and the fastest way is in England.” So, I did it. BWG has been in London ever since. No grand strategy, just a deadline and a bit of panic, really.And here’s where it gets even stranger—your ancestor, Georg Giese, was a German merchant working in London, painted with a Bavarian clock, and now you, a Bavarian-named brand, are also in London. That’s a lot of historical echoes.Yes, it’s almost too many coincidences! When I told this story to an art historian, he said, “Frank, maybe it’s in your genes.” And, you know, maybe he’s right. I’ve always felt drawn to watches, even designed one for my university application, long before I knew any of this. But was it destiny, or just a series of lucky accidents? I’m not sure.It’s a great question. Do you think it’s family history that shapes us, or is it just happenstance? I mean, you could have ended up anywhere, doing anything, but here you are, with all these threads coming together.Maybe it’s both, Eric. Maybe we’re all just a mix of what came before and what we stumble into. For me, it’s about making something meaningful, whether it’s fate or just good timing. And honestly, I wouldn’t have it any other way.Well, that’s a perfect note to end on. Frank, thanks for sharing your story—it’s honestly one of the most fascinating brand journeys I’ve ever heard. And to everyone listening, we hope you’ll join us next time as we keep exploring the stories, the art, and the design behind BWG and beyond. Frank, always a pleasure.Danke, Eric. Always great to talk. And thanks to everyone out there for listening. Until next time—take care, and don’t forget to check your watch!See you next time, everyone. Cheers!

Episodes

Legacy, Luck, and the Birth of BWG Bavarian Watch