Seems it wasn’t that long ago (in reality, it was close to a year ago) that I wrote my first “Objects of Desire” article about the watches of Robert Greubel and Stephen Forsey, finishing with: given the prices of their watches I was unlikely to be able to buy any of the ones I truly lusted after anytime soon. My observation at the time was “go big or go home.” As you will see, I’ve ended up going big and am now the proud owner of a Greubel Forsey Invention Piece 1.
“Whether collecting art or watches, when I fall in love with something, then I need to understand, I need to research deeply,” Mo Coppeletta explains. “You may have taste, but if that isn’t backed up with knowledge then it is superficial.” Coppoletta was wearing an Audemars Piguet Royal Oak Perpetual Calendar Skeleton. “It’s my summer watch,” he commented. What else does he own and how did he get into collecting watches?
Roger Smith holds a special place in the pantheon of independent watchmaking, both on his own merits and as the man who worked most closely with the legendary George Daniels. While any Smith watch is rare, the particular Series 2 that you see photographed in this article is in fact unique: it’s the only such watch in stainless steel that Smith has yet produced.
For this edition of Behind the Lens, I’m sharing a series of photographs of one of the great watches of our time, the Philippe Dufour Duality. The Duality, with its linked twin escapements, was originally planned for production in a series of 25 watches. In a turn of events that seems almost unbelievable today, a lack of initial demand eventually led Dufour to limit production to just nine pieces, one of which is owned by a good friend of mine.
If you like watches at all, you have certainly seen wristshots, and perhaps you have even posted a few of your own. Like the selfie, wristshots seem to be ubiquitous these days. But where did wristshots come from, why do they exist, and what are the pitfalls to look out for?
For the past five years, I’ve had the delightful experience of traveling to Switzerland with several friends to experience SIHH week, before finishing up with a Friday night dinner at which we review our impressions of the week by answering what watch we thought was best of show at SIHH; what was the worst watch; what current-production watch that we saw at any event during the week would we buy if money were no object; and what current-production watch did we see that we would buy with our own money?
In this edition of “Behind the Lens,” we take a look at a watch that you may not have heard about yet: the Inversion Principle by Fonderie 47. There’s a story to be told about both the brand and this particular watch. We explore both, although we primarily emphasize the design elements of the watch and their links to the brand, as well as some of my observations on what it was like to photograph this watch.
Over the twenty-odd years I’ve been buying “serious” watches, I’ve purchased more pieces bearing the Jaeger-LeCoultre brand name than any other, by far. Within the Jaeger-LeCoultre pantheon, one watch sub-group stands out for me: the Reverso. Between my wife and I, we’ve bought a total of seven Reverso models. Given that, why add another? In this instance, the Reverso Tribute to 1931?
It seems like only yesterday, but it was all the way back in January of 2014 that I had the opportunity to sit down for the first time with Elizabeth and Ian and hear their plans for Quill & Pad. Before the year completely gets away, here are a few of my observations and reflections on the industry, my first year at Quill & Pad, and my year in watches.
Many of you are likely to have come across at least a few heated discussions of “finishing,” a topic that seems to fascinate, and divide, watch enthusiasts. Like many people, my starting point for serious watches was with a well-priced brand long known for its expertise in developing movements, justly viewed as offering good value for money – but not necessarily for the refinement of its movement finishing, at least on its less expensive pieces. What have I learned since then?