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?
Read about my recent purchase of the lovely Breguet Classique Chronométrie Reference 7727, which is not only the 2014 Aiguille d’Or winner of the Grand Prix d’Horlogerie de Genève, but also an excellent example of how classic can successfully meet high-tech and live to tell about it.
Once upon a time in a small watch shop in a (relatively) small California town before GaryG really knew much at all about Vacheron Constantin as a brand and company. there was a display case. And a watch: the Vacheron Constantin Malte Squelette.
In this edition of ‘Behind the Lens,’ GaryG pays tribute to the introduction of the A. Lange & Söhne Lange 1 twenty years ago on October 24, 1994. He brings us stunning images of two very special variants of the classic watch: the rare Cellini limited edition, of which only 25 were made for the New York City retailer, and the even rarer stainless steel Lange 1, which was not a limited edition per se but certainly a (very) limited sort-of production watch.