Instagram can be a strange place sometimes. Well, most of the time, if we're being honest. For those of us with horological interests, there is a great variety of options for indulging our pursuit on Instagram as well. Whether you're looking for a little humor, auction previews, or an inside look at the life of a high-end vintage Rolex dealer, it's there. But this might be the strangest watch account we've ever seen.

Watches and Succulents is exactly what it sounds like – an Instagram account dedicated to photos of watches draped over succulent plants. Yeah, it's that simple. We stumbled upon the account earlier today, and I'd be lying if I didn't say it surprised me. Based on the first 20 posts it's mostly G-Shocks, Seikos, and the like, but who knows where this is going to go. A Paul Newman Daytona on a cactus? A ref. 2499 on a jade plant? It's strange, sure, but I gave the account a follow anyway. You should probably do the same.

Check out @watchesandsucculents for yourself here. 

Rumors have been circulating for months that Breitling might be for sale (as we reported last November) and now, according to a Bloomberg report from earlier today, a deal has been made. A controlling stake in Breitling will be acquired by CVC Capital Partners, in a transaction expected to close in June and reportedly worth $870 million. Theodore Schneider, Breitling's current majority shareholder, will "reinvest in exchange for a 20 percent stake." Breitling is one of the last major Swiss brands to operate independently, rather than under the umbrella of one of the major luxury groups.

Bloomberg also reports that a major focus of the new ownership will be building brand awareness in China, saying, "CVC will likely focus on stoking demand for Breitling’s watches in the Chinese market, one of the people said, asking not to be identified because the plans are private. The company reported 2016 sales of 420 million Swiss francs ($424 million), the person said."

Read the full report from Bloomberg for more.

For the second installment of our new live video series, we've got Jack and Stephen tackling a variety of topics. In addition to sharing their favorite stories from the week, they'll talk about the big Breitling news that broke earlier today, look at a few watches that are currently in the office for in-progress stories, and even share what watches are on their wrists today. Finally, they'll turn to the comments section below and answer some questions live. 

Chronographs are the big focus of this week, but a gilt Submariner 5512 reminds us how amazing a time-only vintage Rolex can be. This example was made in 1962, and comes with its original guarantee papers, documenting a sale two years later. Our selection also features an early Breitling Navitimer, as well as an Eterna chronograph with a distinctive "Spillmann" case.

Eterna Chronograph With 'Spillmann' Case

Proper water-resistance has always been a challenge for chronographs, which have obvious weak points at the pushers (as well as the fact that vintage chronographs often have snap-back cases). This is why the company C. R. Spillmann came up with a case that would eventually bear its name, with thick pusher tubes and a screw-down caseback. Those cases are easily identifiable by their oversized (for the time) 38mm diameter, and distinctively angular lugs. Truly innovative for the 1940s, Spillmann cases were adopted by a multitude of watchmakers (Universal Genève, Doxa, and Eterna among others).

The present Eterna chronograph offers more than an interesting case in sharp condition, as its dial remains exceptionally well preserved (this is one upside of an increased water-resistance; the dial and movement have less risk of showing water damage). The telemeter and tachometer scales kept their distinctive colors, while the sub-registers are easily legible, including the 3-minute intervals on the right counter that used to time billing intervals during international long-distance phone calls. The chronograph complication relies on the proven caliber Valjoux 22, also by many other manufacturers, including Rolex.

The Italian dealer CasoWatches offers this Eterna with Spillmann case for €6,000 (approximately $6,540 at time of publishing).

Rolex Submariner Ref. 5512 With Gilt Dial

Initially launched in 1959, the Rolex Submariner reference 5512 can be considered the first modern design for the Sub, since it introduced crown guards and came in a 40mm diameter, replacing the 38mm  diameter of the previous references. The 5512 went through a couple of esthetic changes over its 15-year production, especially after the 5513 was released in 1962. The difference between the two models was the chronometer certification of the 5512, which was eventually displayed on its dial, and this is the version that Steve McQueen famously wore.

The 5512 we have here is undoubtedly part of the early production as its dial only sports two lines above six o'clock, while mention of the chronometer certification would add another two lines on later models. The pointed crown guards are also an unmistakable sign of early production, also known as 2nd generation, since the first offered square guards. Their unaltered lines, the thick lugs and the crisp bevels all point towards an unpolished case. The stellar gilt dial lets you admire all the other features of the early 5512, such as the so-called "exclamation point" at six o'clock (from the small dot placed there) and the chapter ring for the minute track. All this indicates a 1962 production, and this is indeed the year that can be found engraved on the caseback, and on the riveted Oyster bracelet, while the included papers document a later sale in 1964.  

Matthew Bain has this outstanding Rolex Submariner reference 5512 listed for $75,000.

Lemania Chronograph 15TL

Lemania is mostly remembered for its production of chronograph movements, notably used by Omega. Yet, the manufacture also offered its own line of chronograph wristwatches, and they have begun to get more and more attention from collectors. They often come with relatively large stainless steel cases and very balanced dials – and of course, the movements are obviously top-notch. 

The example here is no exception, with a 37mm diameter and a nice black dial with luminous painted indexes. The cathedral handset and oval pushers are characteristic of Lemania production in the 1940s, and its 15TL caliber is also known as the Omega caliber 33.3. Note that the minute track seems to have faded between 12 and two o'clock, but the external base 1,000 track does not show the same fading.

Vesper & Co has this steel Lemania 15TL priced at $6,250.

Breitling Navitimer Reference 806, With Early All-Black Dial

Vintage Breitling chronographs often obey the following rule: early on they came with an all black dial, and later with a reverse panda dial. This is at least true for two of the most important families: the AVI, and the Navitimer. The Navitimer was, of course, developed with pilots in mind, in collaboration with the AOPA (Aircraft Owners & Pilots Association) which explains the golden wing logo on the dial. 

The present Navitimer reference 806 offers a Venus 178 caliber, which is consistent with its 1956 birth, while examples from 1954 and 1955 came with the iconic Valjoux 72 (and those are getting very expensive). Cosmetically, all the early birds look pretty much alike, with the very same black registers, which later were replaced by silver counters of varying dimensions. The lumed numerals here are in stunning condition; they are obviously radium (tritium only came in the early 1960s), which explains why the seller mentions the results from his Geiger counter. The strap retains the look of the original lizard strap, but is of recent production, and it goes extremely well with the all-black dial.

An Italian collector wishes to get €9,000 (approximately $9,820) for this 1956 Breitling Navitimer reference 806.

Longines With Two-Tone Sector Dial

The sentence "It is the watch from the book" is always a convincing way to describe a timepiece; this Longines is indeed featured in the reference book about Longines that former Talking Watches guest John Goldberger wrote. And it is easy to understand why, given the stunning two-tone sector dial, and the flat bezel that makes it look like an early Patek Philippe reference 96, only bigger, with a 36mm diameter.

The case of this Longines is made of 18k yellow gold, and shows the same lug shape as a Spillmann case, with fixed bars. The watch is documented in Longines' archives through its serial number, and movement number; it was manufactured in 1938, and delivered to Longines' agent in Italy in early 1939. The movement is Longines caliber 27.0, running in 17 jewels with gilt finishing, and a bimetallic temperature compensation balance. The crown is said to be original, while the dial shows some homogeneous aging marks, fully disclosed in the listing.

An English collector listed this Longines sector dial for €14,500 Euros on Instagram (approximately $15,760) but will consider lower offers.

Piaget was a family-owned manufacture until 1988, led only by Piaget family members. Valentin Piaget (right, in the image above) was the grandson of founder Georges-Edouard Piaget, and he played a key role in the company's development beginning in 1945. While his brother Gerald was CEO and focused on the business, Valentin worked more on the products themselves, developing some of the thinnest calibers ever made, which helped make Piaget the paragon of elegance it is today. He was deeply involved in the creation of the calibers 9P and 12P, which were respectively ultra-slim manually-wound and automatic movements, with the 12P holding the title of the world's slimmest automatic movement for decades.

When Gerald and Valentin Piaget took over for their father in 1945, the two brothers were facing a great challenge: make the Piaget name stand out on its own. It was not that the watchmaking skills of the family and their employees were contested in any way, but until the 1940s the Piaget brand had not been registered or promoted. In fact, most Piaget watches did not bear the Piaget name on the dial, and the delivery of finished movements to other watchmakers prolonged Piaget's anonymity in the eyes of the public. 

But the two brothers had a trump card – a brand new manufacturing facility in La Cote-aux-Fées where they could focus almost exclusively on making slim movements. This effort paid off, and in 1957 the 9P caliber was unveiled. Its 2mm thickness truly allowed Piaget to present itself as the "specialist of the slimmest watches in the world." The reduced thickness was a very practical feat, since it allowed the production of slimmer watches. This also allowed Piaget to fit the more imposing hard-stone dials (usually with a 0.7mm thickness) that would become a signature for Piaget heading into the 1960s and 70s.

Yet, Valentin and his team did not stop at the manually-wound 9P, as they were also aiming at offering the slimmest automatic caliber ever made. And they eventually succeeded after two more years of research, which culminated in the caliber 12P. At 2.3mm, this movement was barely thicker than the 9P, but cannot be considered as a mere evolution of its predecessor. The whole construction had to be re-started from scratch in order to accommodate for the micro-rotor, an ingenious system previously adopted by Universal Genève and Gruen. The 12P was presented at the Basel fair in 1960 and stunned the watchmaking world.

Creating a 2.3 mm-thin self-winding caliber had previously seemed a pipedream. The entire research team in La Cote-aux-Fées can take pride in having written one of the finest chapters in watchmaking history, and in having worked in the same spirit that drove the pioneers.

The 12P was even more revolutionary than the 9P, and Piaget's advertising kept on highlighting its incredible dimensions, again placing the brand as the specialist of ultra-thin watches. It would actually take more than a decade for another movement to break the the 2.3mm limit, with the Jean Lassalle caliber 1200 reaching a mesmerizing 1.2mm thickness (at the cost of prohibitive fragility). And at no point would Piaget abandon its quest of slimness, developing the thinnest quartz movement in 1976 with the caliber 7P, and more recently the 3.65mm Altiplano reference 900P (in this case, that measurement is for the entire watch, not just a movement).

The fact that the name Piaget is now immediately associated with thin and elegant watches has nothing to do with luck; on the contrary, it was the hard work of Valentin Piaget and his brother Gerald (and later his nephew Yves as well) that made Piaget what it is today. There is no doubt that today the manufacture has lost a man to whom it owes its legacy.

Other than watches, the single piece of gear we're most exposed to at HODINKEE is unquestionably cameras. In the course of producing our stories we shoot thousands of images of watches a year, as well as coverage of events, travelogue material for stories like our Road Through Britain series, and more. Gear used varies with who's shooting, and what's being shot – some editorial is shot with full frame DSLRs but there are also Micro 4/3 cameras in the mix, and others (Managing Editor Stephen Pulvirent favors an APSC-sensor mirrorless, for instance). 

Both from professional curiosity, and as photography enthusiasts, we saw the launch of Hasselblad's medium format sensor X1D-50c with considerable interest. Several weeks ago we obtained one on loan from Hasselblad, and had a chance to get an initial idea how it would fit our workflow – and how it handles in general. As well, we were very curious to see how appealing it would be to HODINKEE readers who are serious about photography as well as watches (and we know there are a lot of you).

A medium format digital camera is one with a sensor larger than that found in so-called full-frame cameras. Full frame digital cameras are those with sensors about the same size as a frame of 35mm film, which was the standard format for much – but not all – professional photography for decades, before the advent of digital photography. Medium format in the days of film photography, generally meant 6 x 6 centimeter square film, or 6 x 9 cm., with the term "large format" reserved for anything bigger. All things being equal, a bigger sensor will mean better image quality and more flexibility in shooting. Better image quality does not, of course, mean better pictures, but more on that in a bit.

Medium format digital cameras have generally been extremely expensive, and largely tools used by professional fashion/product, studio, and fine art photographers. The cost for just a camera body can run to $40,000 or more, and even for most enthusiasts, such cameras have generally been regarded as either overkill (which is largely true) or as simply too technically challenging (which is also true, about which, more later). However, other than the very high cost of both bodies and lenses, the sheer size of medium format cameras has been a major block to more widespread use. 

The X1D is actually smaller and lighter than some full frame DSLRs, and although the lenses add unavoidable bulk, I was still able to easily fit an X1D with either of the supplied lenses mounted, into a small bag that I generally use for holding a Micro 4/3 camera (admittedly with a battery grip, but still) and zoom lens, when I'm shooting an event. Think about that – a medium format camera in a Micro 4/3 bag; that's pretty unprecedented.

The X1D is one of the most rigorously modern cameras I've ever seen. There's no attempt whatsoever to pander to the nostalgia for classic film cameras that drives a lot of mirrorless camera design – no SLR-like pseudo-pentaprism housing for the finder; no rangefinder-like styling. The body is a solid block of milled aluminum and though it feels – well, like you'd expect a block of precision-machined metal to feel, which is to say extremely substantial – it's still much lighter than most other medium format cameras. For comparison, Hasselblad's H6D-50C medium format camera is over two kilograms, with a lens mounted; the X1D (camera and battery only) is 725 grams. To put that in watch terms, it's the weight of 5.1 Seiko SKX 007 dive watches (as measured in our weigh-off of watches in the office from last year). Again, the lens naturally adds a lot of mass, but this is a truly portable medium format rig and on that score, the most consumer-friendly camera in Hasselblad's current portfolio by a considerable margin.

In a way, it's also one of the most honest cameras I've ever used. It's frankly and unapologetically – even exuberantly – non-analog: a huge sensor with a huge battery and a huge lens, and that's pretty much it. There's something very refreshing about the approach Hasselblad's taken to designing something that's clearly meant to appeal aesthetically as well as technically. Practically speaking, it means operation is in general as straightforward as the design. Many operations are accessed via the touchscreen, but there are ample manual control points as well, including a rather nifty mode dial that sits recessed into the body top, until you press it and it pops up. With your right hand on the grip, you can reach both the front and back context-dependent scroll wheels and of course, the big orange shutter button; there's a dedicated white balance/ISO button up top, next to an AFL/AEL button, four menu buttons flanking the touchscreen, and that's it. Creative modes and film simulation modes? Surely you jest. 

Right now you have two lens options – a 45mm f/3.5, and a 90mm f/3.2, which on this sensor, are the equivalent of a 37mm and 75mm lens on a full frame camera. Obviously these focal lengths cover a lot of bases, but  there's a lens road map behind the XCD mount and more glass is in the pipeline. By 2018, Hasselblad says a total of 7 lenses will be available (including, most interestingly for our purposes, a 120mm macro which ought to be magic for watch photography) as well as adapters allowing use of other Hasselblad medium format lenses on the X1D body.

The X1D-50c may fit in a bag designed for a Micro 4/3 camera, but in more ways than one, a Micro 4/3 camera this manifestly is not, and for me – an habitual M4/3 user – the transition was definitely a transition, and not without speed bumps. The entire shooting experience is much more deliberate – the bigger sensor means longer startup time (around six seconds) and there are a whole host of other differences inherent to both the camera and the format. For one thing, I've gotten a little sloppy about shutter speed, thanks to the the in-camera image stabilization in the M4/3 cameras I've been using for the last four years; for another thing, the generally shallower depth of field you get from a medium format camera means you have to be that much more careful about hitting focus. And this is not an inconspicuous camera; the body is surprisingly compact for the sensor size, but it's still hefty enough, and big enough with the lens mounted, that it's not so easy to fade into the woodwork if you're trying to do candid street shooting. 

This is a camera that demands your undivided attention, and then some. However, when everything comes together you get almost unbelievable image quality.

The first time I opened a file out of the camera I was just floored – now, admittedly, any medium format file is going to wow a person who's used to M4/3 or APSC, but it was still a shock. The sheer level of detail in each file as well as the inherent capacities of the sensor in terms of dynamic range was staggering. Looking at processed files full screen on a Retina display iMac was hypnotic – that is, when the image was a good one.

The one thing we did not get to do with the X1D-50c is see how it works for product photography – for that, we have to wait for the upcoming 120mm macro lens, which is coming up this summer. I suspect that lens on the X1D-50c is going to be both extremely unforgiving and very rewarding to work with, and probably unforgiving to watches as well – that level of resolution is going to give a very exact idea of the level of quality of a watch overall, and especially the level of finish of various components, which after all is what consumer oriented product photography done for review purposes ought to do. Hopefully we'll be able to get that body and lens back to work with and when and if we do, we'll update you.

I said earlier that there was a difference between good image quality and a good picture. That's more true now than it has been, probably, in the entire history of photography. There's a great interview with Magnum photographer Elliott Erwitt in which he's asked if he thinks digital is "corrupting" photography.

He says, "Yes, I do think digital is indeed corrupting the world of photography ... when things are too easy, people get sloppy, and sloppiness is not good for photography." 

The salutary thing about the X1D, from the standpoint of becoming a more disciplined photographer, is that you will not get away with sloppiness. I think the best way to think of it, especially the first couple of weeks you're using one, is as an amplifier of whatever basic virtues you either do or do not have in a picture. If you've got everything right, you're going to be rewarded with something noticeably more impactful than you could get out of a smaller format. You'll get a certain meditative depth and richness that, at its best, can give a photograph a kind of inherent aesthetic dignity. 

However this is also a camera that will equally happily, absolutely positively, bite you in the ass if you are not paying attention. A throwaway image in photography is the rule, rather than the exception (Magnum founder Henri Cartier-Bresson said, towards the end of his life, "Really, how many pictures can you look at more than once?") but still, looking through one's missed shots with the X1D is noticeably more painful than with a smaller format camera. Each recorded moment of inattention, hesitation, cowardice, or just plain failure to get all your ducks in a row technically, looks like worse than just some more bad shots; they start to take on the dimensions of an actual moral failing.

So in that sense, it's a shock to shoot with the X1D. However, it's also, I think, good for you. You have to really think, and not just more, but differently as well. You have to think ahead, about what's happening in the world around you. As it turns out, paying attention with the X1D doesn't just mean paying more attention to the camera, it means being more mindful about the world in general, which is something that pays dividends even when the camera's off and in your bag. 

The requirement for that kind of careful attention was always the great thing about shooting film, and I think that necessity for mindfulness about the world is what a lot of people who are returning to film, or discovering it for the first time, are really looking for, even if they don't exactly know it. And that's maybe one of the most interesting thing about this camera – this uncompromisingly digital image-making device can, surprisingly, get you in a very analogue state of mind.

The Hasselblad X1D-50c is $8,995 in the US. Sensor, CMOS, 50MP, 43.8mm x 32.9mm. Capture, raw (Hasselblad 3Fr) + JPEG; ISO 200-25,600. Dual card slots. Touchscreen, 920k pixels, with pinch-and-zoom. Raw files supported in Lightroom and Photoshop. Lenses, Hasselblad XCD mount (H mount available with adapter) with in-lens shutter. Weather sealed all aluminum body (lenses weather sealed as well). Battery, Li-on, 3200 mAh. Nikon compatible hot shoe with flash sync to all shutter speeds (up to 1/2000). More info at hasselblad.com.

For more on the X1D-50c and on medium format photography in general – especially why you'd use it, and what it does and doesn't mean creatively – I strongly recommend looking at photographer and essayist (and watch enthusiast) Ming Thein's extensive coverage of both the camera in particular, and the format in general, at mingthein.com. 

There’s a very good chance you’ve never heard about this watch, nor seen any pictures of it, despite the fact that it's not some brand new release dropping today. And why might that be? First off, it’s not even on IWC’s website. So you can imagine my surprise when, flipping through IWC’s 2016/2017 catalogue, I landed on this watch. Immediately I knew I had to get my hands on one to take a closer look.

The reason IWC hasn’t talked about it until now – and I suspect that will change very soon – is because the company likes to focus on one collection at a time. When it comes to new product launches, that’s been the strategy at IWC for a number of years. So when it re-launched the Da Vinci line at the SIHH in January, that’s what was the press was shown, almost exclusively. But, very quietly, IWC also launched a new Portofino, the ref. 5164, and it's one good looking watch.

Not bad, right? In my opinion, it’s probably the best thing IWC has released so far this year. The new Da Vinci line was always going to receive mixed reviews, and it did, while the very many complications presented in the new Ingenieurs tried to please everyone but didn't exactly knock it out of the park. This new 45mm Portofino on the other hand? It truly has a lot going for it.

First of all, it has a moonphase complication. It’s the complication the Portofino was born with, more than 30 years ago, and its one the current line-up has been desperately missing – it has been available on the Automatic Moon Phase 37, but that also only comes with diamonds on the bezel and/or dial, so it's a different story. It’s reappearance in a large case Portofino is therefore a bit of an event.

The original Portofino, reference 5251, was a very large watch due to its movement. It was powered by a pocket watch movement, which IWC turned 90 degrees and equipped with a moonphase display. You could call it a wristwatch, and officially it was, but only because the movement was placed inside a case with lugs and a leather strap, which meant it could be worn on the wrist. In character (and size) it was very much a 19th-century pocket watch.

The new Portofino Hand-Wound Moon Phase on the other hand, is very much meant to be a wristwatch. The movement inside is the same base movement found inside the new Portofino Hand-Wound line-up, which includes the ref. 5101. Just like that more basic model, this watch features a small date at three o’clock, small hacking seconds at six o’clock, and a power reserve indicator at nine o’clock (for the eight-day, hand-wound power reserve). But in addition to all of that, you get a beautiful moon phase display at 12 o’clock, and it totally changes the watch.

Because of the moonphase module, the case gains 1.5mm in height, but that’s where the changes end. It’s a big watch, for sure, but that’s kind of the point. I'm sure the new Hand-Wound Moon Phase isn’t supposed to provide the same experience as the original Portofino, and it works as its own, slightly more compact, wristwatch, but I also happen to like that the two references, which are separated by three decades, are linked by how they wear. Even if you're not usually into larger watches, there's something charming about these for sure.

The Portofino Hand-Wound Moon Phase will be available in stainless steel for $13,000, and there will also be a rose gold model with a grey slate grey dial. Both watches come on a dark brown alligator strap with a pin buckle, provided by Santoni.

For more information, visit your local IWC boutique and pick up a paper catalog.

One of the most surprising things we saw at Baselworld this year was from Fabergé, which is a name not historically associated with fine watchmaking. The House of Fabergé's most famous for the Imperial Easter Eggs – elaborately crafted and spectacularly luxurious objets d'art made for the Romanov family during the last decades of Imperial Russia. Today, however, the company has been revitalized (it's now owned by Gemfields, a mining company which purchased Fabergé in 2013) and it's back in the jewelry business – as well as in the fine watchmaking business – in a big way.

The surprising thing we saw was the Fabergé Visionnaire Chronograph. What's surprising about it is not that Fabergé is producing a chronograph per se, but more that it's producing this particular chronograph. The Visionnaire Chronograph, as we reported earlier this year, was designed by Jean-Marc Wiederrecht, and manufactured at Agenhor, his complications specialist workshop. The AgenGraphe caliber AGH-6361 is not just a custom chronograph caliber, but also one that incorporates a plethora of technical innovations, and whose architecture allows the unusual central chronograph configuration of the Visionnaire Chronograph.

I pride myself on being able to recognize the major components of a chronograph, but the AgenGraphe caliber AGH-6361 is the first chronograph movement I've looked at in many, many years, where my first reaction was, "I have no idea what's going on here." I don't feel terribly guilty about it, though; the architecture of the movement, as well as how it works, are dramatically different (to the extent that anything in the fundamentally incremental art of watchmaking is dramatic) from any other chronograph.

We covered some of the movement's unusual design features in our introductory coverage, and now we're going to go into a bit more detail. Most chronograph movements have the chronograph works built on top of a standard watch going train. The traditional method is to put a driving wheel on the same axis as the fourth wheel of the going train, which turns once a minute and is thus a natural power source for an elapsed-time train (which is basically what a chronograph gear train is).

The A. Lange & Söhne Datograph (above) is a classic example of a lateral clutch system. The gold wheel in the center is the main chronograph wheel which carries the center chronograph seconds hand, and right next to it, to the right at 3:00, are (from left to right) the intermediate wheel and driving wheels. In the picture above, the chronograph is running. You can see the very fine, pyramidal teeth on the chronograph seconds wheel and intermediate wheel – when the clutch is engaged, it's possible for the tips of the teeth to clash, and this can create a minute jump of the chronograph center seconds hand on start-up. You can minimize this by making the teeth as fine as possible but it's impossible, in the classic system, to eliminate completely. A vertical friction clutch doesn't have this problem, but as it uses friction rather than gearing for engagement, it's possible for slippage to occur (this in most cases, is an abstract rather than real world problem, but it can happen).

The AgenGraphe caliber, on the other hand, uses a very different kind of layout. The mainspring barrel, going train, and automatic winding system form a ring around a central space, in which the chronograph mechanism sits. Think of it as a donut, with the automatic winding system and going train forming the donut itself, and the chronograph mechanism sitting in the donut hole.

To understand caliber AGH-6361, it's helpful to remember that unlike a conventional chronograph, all three registers (seconds, hours, and minutes) are on the same axis. This is what allows you to have a very compact layout capable of sitting in a hole in the center of the mainplate (in most other chronographs, the largest diameter of the chronograph train is basically that of the mainplate, which is why the chrono train sits on top of the main going train.

The AgenGraphe caliber AGH-6361 is the first chronograph movement I've looked at in many, many years, where my first reaction was, 'I have no idea what's going on here.'

The clutch system is one of the most unusual features of the watch (although it's got a lot of competition; there is hardly any part of the caliber AGH-6361 that isn't radically different from what you'd seen in an ordinary watch). Technically, this is a lateral clutch system, controlled by a column wheel, but it's a clutch that operates by friction, which is how a vertical clutch system operates.

The first wheel on the clutch is a driving wheel, which is propelled by the going train.The second wheel is an intermediate wheel. Finally, there are three wheels, stacked on the same axis, like a triple-decker layer cake. Up top is a conventional toothed gear wheel, which is driven by the intermediate wheel. Directly below that is a wheel with no teeth. And finally, below that is a "security wheel" with very fine, relatively widely spaced teeth.

In the image above, the chronograph module is dead center, with the clutch lever to the right. (Please note also that this movement is a prototype; finish is not finalized in this example.) The driving wheel is the large, gold colored gear at 3:00, and the intermediate wheel runs in the jewel just above it; the last set of stacked wheels is right above the central chrono module, at just about 12:00. When the chronograph is activated, the clutch lever pivots on the axis of the gold driving wheel, and the set of stacked wheels drops into contact with the large grey wheel, center. You'll notice that this wheel has no teeth. The center wheel in the triple stack has no teeth either – both have a slightly roughened outer edge, and the friction between the two – maintained by the pressure of the "tulip" spring assembly at the top of the picture – keeps them engaged. 

The lowest gear in the triple stack isn't visible in the live movement shot but you can see it in the diagram above – this is the "safety wheel." This wheel has very thin teeth, and it has a mate, under the toothless central chronograph wheel. When the chronograph is engaged and running, the teeth of these two gears are not engaged. However, if there's a shock, and the toothless gears disengage, the safety wheel keeps the clutch mechanically coupled to the chronograph. The size of the gap between the teeth in the safety wheel has been calculated so that no more than a 0.33 second error, maximum, can be created by a shock.

The chronograph assembly uses a stack of snail cams in order to advance the central chronograph hour and minute hands. The first cam is on the pivot of the seconds hand. At the 60th second, a beaked lever riding on the outside of the cam drops onto its lowest point; this indexes a wheel on the pivot of the minute hand one tooth forward, counting off one minute. A second cam on the minute hand pivot does the same to advance the hour hand. The minute and hour hands jump instantly. 

The same cam system allows the caliber AGH-6361 to omit the hammer and heart-piece system used in conventional chronographs. When you stop the chrono to read off the elapsed time, a brake system freezes the chronograph wheels in place. Pressing the reset button lifts the brakes out of position, and the pressure of the beaked levers on the cams (under the pressure of spiral springs on their pivots) causes the cams to rotate until the lever rests on the lowest point of the cam, which corresponds to the zero position.

There are several technical advantages to the system – because the clutch is a friction type, there is no jump of the chronograph seconds hand at start-up (which is a characteristic of the classic lateral clutch system) and the safety wheels ensure constant engagement of the driving wheels with the central chronograph wheel. The forces in the reset system of the AGH-6361 caliber are lower than those in a tradition hammer and heart-piece system as well, which reduces mechanical stress. 

From a practical standpoint, this allows you to have the hands all on one pivot, which lets you read off elapsed hours, minutes, and seconds in a more natural way; legibility is improved over the usual system of sub-dials as well. The trade-off is greater complexity and a need for very exact adjustment of tolerances. The chronograph pusher feel is noticeably different; during start, stop, and re-set, the Visionnaire chronograph's pushers move very smoothly and crisply, but it takes noticeably less force to push through the detents and activate each operation.

The whole system is really a hybrid – a combination of a vertical friction clutch and a lateral, toothed-gear clutch; the intention seems to have been to obtain the advantages of both, with the disadvantages of neither. Basically, it's a lateral friction clutch system, with a reset-to-zero system that also functions as the coupling system for the minute and hour registers. The design is extremely ingenious, to put it mildly. It also seems to require exceedingly exact manufacturing tolerances, and it doesn't give the impression of being very forgiving in terms of adjustment – there are a lot of springs working against each other that have to do their job without producing excess drag in the system, but in practice and here in our office, it worked very well.

This is a self-winding chronograph, and yet, you can't see any rotor through the caseback. That's because it's actually on the dial side of the movement. Now, normally it would be impossible to place a rotor on the dial side of a chronograph, because the pivots for the chronograph registers are in the way, but it's possible with caliber AGH-6361 because all the hands are on the same central axis.

Is all this ingenuity and inventiveness really necessary, though? That, as they say, depends. To a certain degree, you could look at this whole thing with a jaundiced eye and judge it as a bunch of very clever solutions looking for a problem. Modern vertical clutch chronographs from the likes of Rolex and Omega aren't really known for chronic issues with slipping plates; lateral clutch chronographs from the Speedmaster to the Datograph, and on and on, seem to fill their respective functional bills just fine, an occasional minute stutter on startup notwithstanding. 

However, there's also no doubt that though a huge amount of clever watchmaking has been expended on coming up with solutions to somewhat minor problems, it's also true that they are actual solutions, and that a number of the problems addressed have been longstanding ones in chronograph functionality and reliability. It's also true that the design of the Fabergé Visionnaire would have been impossible without the caliber AGH-6361. (The movement for now is only being used in the Visionnaire, but will be used in at least one other watch from another manufacture later this year). If you're looking for something with very unusual aesthetics and some of the most forward-thinking horological engineering out there right now, interestingly enough, you should be looking at a complicated timepiece from the House of Fabergé.

The Fabergé Visionnaire Chronograph: as shown, in rose gold and titanium, $39,500 (also available in a black ceramic and titanium model, $34,500). Movement, caliber AGH-6361, self-winding central chronograph with five hands on a single pivot. Bearingless rotor carried on a film of oil between two metal plates; platinum weight; 477 components, running in 67 jewels at 21,600 vph. Dimensions, 7.18mm x 34.40mm. Adjusted to six positions. Case, 43mm in diameter, and 14.70mm thick; water resistant to 50 meters, with a power reserve of 60 hours. View Fabergé's watch collections online right here.

Next week, watch brands and retailers up and down Madison Avenue will be opening their doors for special events, for the seventh spring in a row. While those of us at HODINKEE HQ have obviously had a chance to see the watches debuted at SIHH and Baselworld, in many cases they're just now starting to make their way out to boutiques, and many participating brands will be showing them off to the public for the first time. If you're a watch lover in New York, chances are there's something you'll want to check out.

This year's participating brands and retailers are A. Lange & Söhne, Asprey, Chopard, David Yurman, De Beers, Djula, F.P. Journe, Georg Jensen, Hublot, Jaeger-LeCoultre, Montblanc, Panerai, and Vacheron Constantin.

The week kicks off on Monday morning and runs through Saturday, May 13. Over the course of the week there will be cocktail parties, product debuts, and watchmaking master classes too. On Tuesday, May 9, there will be a special walk down Madison Avenue that will include visits to select boutiques along the way. 

To check out the full calendar of events, RSVP to what you'd like to attend (some things do require you RSVP in advance, so be sure to read the listings), and request invitations for the invite-only events, you should visit Madison Avenue Watch Week online.

While the 2017 White House Correspondents' Dinner will be remembered not for who was there but rather for who wasn't there, headliner Hasan Minhaj made news with several quips about both the current commanding officer and the news media – some landed, and some did not. This year's dinner, void of the President of the United States and suffering from competition from comedian Samantha Bee's own event at the same time, was however a perfect proving ground for the young Minhaj and reviews have been generally positive, especially considering the admittedly difficult circumstances. But we're here to ask the important question: did he wear a watch, and if so, what was it? 

Hasan Minhaj did indeed wear a watch as host of the White House Correspondents' Dinner and a pretty nice one at that – he wore a TAG Heuer Carrera Caliber Five with date, a nice and relatively subdued choice in line with the audience he was addressing – a room full of journalists. The watch is 39mm in diameter and retails for $2,400. You can read more about it here.

Romain Gauthier's watches can be a little intimidating at first. They're plenty handsome and comfortable, but they're also highly technical and finished to the highest degree. It's easy to feel either unworthy of such a horological work, or that you'd be better served by something simpler. But spend a little time with these watches – the new Insight Micro-Rotor in particular – and I guarantee you'll end up wishing you had one of your own.

Romain Gauthier unveiled the Insight at Baselworld just a few weeks ago. It's the third major pillar in the independent watchmaker's line-up (the other two being the HM/HMS watches and the Logical One) and the first with a micro-rotor winding system. The watch shows the hours and minutes on a main dial, with a small seconds sub-dial set into it down at six o'clock. And that's it. The rest of the space is used to display the engineering and finishing that has gone into the watch – and boy does it have a lot to show.

On the face of things, the Insight is a very simple watch. It measures 39.5mm across and 12.9mm at its thickest point (more on that second part in a minute). It is available in either platinum or red gold, each with a white, blue, or black enamel dial. It's also automatic, wound via a micro-rotor, and it tells you just the hours, minutes, and seconds. But, as we know, simplicity can sometimes hide great complexity, and that's exactly what's going on with this watch.

When I first saw this watch in-the-metal at Baselworld, what immediately struct me was the level of depth on the dial side. You've got those overlapping enamel dials up at 12 o'clock, which seem to float effortlessly over the mechanics below. The frosted mainplate has a large aperture cut out at nine o'clock, where you'll find a huge, sweeping bridge holding up the namesake micro-rotor. By giving each component soft brushed or frosted finish and then a sharply beveled edge, each is clearly defined and seems to jump out against the component behind it. The result has an almost graphic quality to it.

One of the things that doesn't really come across in pictures of this watch is the unusual shape of the front sapphire crystal. Instead of being a simple dome or box shape, it's curved and also rises as you get closer to 12 o'clock. It doesn't really alter the optics or impact the legibility of the watch, and it doesn't really impact the wearability either. While it's kind of a neat touch, I don't think it's something wearers of the watch will notice too much.

The caliber is the star of the show here. I'll get to the aesthetics in a second, but even from a technical perspective alone this is one seriously awesome movement. It's 32.1mm x 6.8mm and made of 206 components (28 of which are jewels). There are two barrels that run in series, which provides more consistent power to the regulator through the full 80-hour power reserve. For the automatic winding system, Gauthier opted for a 3.86g solid gold micro-rotor, which is more massive than what you'd typically find on a watch of this size. For that reason, it has bridges on both sides to provide additional stability and reliability.

Luckily, those bridges for the rotor – and the rest of the movement for that matter – are hand-finished to an insane degree. Like, truly insane. We're talking hand-beveling, hand-polishing, snailing, straight- and circular-graining, and even hand-frosting throughout. Each jewel sits in a countersink that is cut, polished, and beveled by hand too. The complex geometry of each bridge offers ample space and lots of angles, so there's extra room for more decoration.

The platinum Insight has a bright palladium-treated movement with frosted plates and bridges on the rear, while the red gold Insight has a darker grey-colored movement with fine horizontal brushing throughout. Personally, I find the finish on the platinum models a little more striking, especially because frosting executed at this level is one of the rarer finishes in modern haute horlogerie.

My absolute favorite thing about this watch though is how well it stands up to scrutiny. Usually, if you look closely enough and critically enough, you can find something wrong with any watch. Sure, with the Insight you could quibble about matters of taste (that's never avoidable), but try as I might to find something lacking, the closer I look at this watch the more impressed I am. Each screw has a subtle S-shaped groove in the top. Each wheel has circular cut-outs in it to give Gauthier more surface to hand-bevel, and even the edges of the little plaques on the movement are razor sharp. Look up above at the photo of the balance wheel and balance bridge – more time goes into crafting these few components than goes into making most already high-end watches.

If at this point I sound like I'm fanboying a bit, that's because I am. Watchmaking at this level is, to my mind, something to celebrate. I could grab a strong loupe and happily stare at either side of this watch for hours. That Mr. Gauthier himself is a passionate, humble, and super nice guy only makes me like the watches even more. While, as I mentioned above, the look might not be for everyone (and, even I must admit that I think an Insight would be a little over-the-top for me to wear most days), I highly recommend seeking one of these watches out, even if it's just for the horological education alone.

For now, there are six total versions of the Insight Micro-Rotor. The case can be either red gold or platinum, and each can be had with a white, blue, or black enamel dial. There will be 10 pieces made in each combination, for a total of 60 pieces across the current editions. The red gold models are priced at 75,000 CHF (approximately $75,200 at time of publishing) and the platinum models are priced at 88,000 CHF (approximately $88,250). More versions of the watch will be coming in the future. 

For more, visit Romain Gauthier online.

You probably know by now that last night was the Costume Institute Gala, better know as The Met Gala. Often called the "East Coast Oscars," The Met Gala is an annual fundraising event chaired by Anna Wintour (editor-in-chief of Vogue magaine) at the Metropolitan Museum of Art in New York City that celebrates an annual fashion exhibition, which also serves as the evening's theme. This year's Met Gala celebrated the the Rei Kawakubo and Commes des Garcons exhibition opening May 4. 

There is always a strong turnout of actors, musicians, models, and athletes wearing the finest couture, ranging from the safe to the scary. In addition to the clothes, the accessories are also a strong part of each star's look, and the likes of vintage Cartier, Bulgari, Fred Leighton, etc. can be spotted on the necks, arms, and sometimes heads of those walking the red carpet.

Refreshing my Instagram feed last night, I noticed that one star in particular had a rather large piece of bling on their wrist. The star? Serena Williams. The bling? The Audemars Piguet Diamond Outrage.

Now, I know she is an ambassador of the brand, BUT as someone who not-so-secretly loved the Diamond Outrage (seriously, it is so sick in the metal), I was happy to see it getting the limelight that is deserves. The spiked bracelet watch is covered in approximately 65 carats of diamonds (or sapphires, depending on your preference). The watch itself is concealed under one of the spikes, and the overall construction of this piece is very impressive. Pricing for this watch is obviously "Price Upon Request," but it's somewhere north of $1 million.

For more about the Diamond Outrage, visit Audemars Piguet online. Additionally, if you want to see the rest of the celebs at the ball, visit Vogue.com.

Top Photo: Evan Agostini/Invision/AP

A few weeks ago, I introduced you to the latest watch from Vacheron Constantin, the Overseas 37mm without diamonds. It was a huge hit and I remember really liking it when I got an early peek at SIHH back in January, so I definitely wanted to spend some quality time with this puppy sooner rather than later. While this watch isn't groundbreaking by any means, I think there is a lot to love about it and that it does bring something genuinely compelling to the table.

What Is The Overseas?

If you are an avid reader of HODINKEE, you likely know what the Overseas is. But in case you are new here (welcome!) or new to Vacheron Constantin, let me break it down for you. Much like Patek Philippe has the Nautilus, Audemars Piguet has the Royal Oak, and Rolex has basically every single watch they've ever made, Vacheron has the Overseas. It's a luxury sports watch with a steel bracelet that can be worn in basically any circumstances imaginable. 

The first Overseas-like watch was the reference 2215 (later 42001) released in 1975, which featured a cushion-form case and integrated steel bracelet. The follow up sports watch was the reference 222, released in 1977 and produced in three variations. Then last year, after a number of other iterations over the decades, Vacheron released the brand spanking new Overseas collection with a number of models including a chronograph, an ultra-thin automatic, a world-time, and a smaller automatic with diamonds for the ladies. The collection was well-received and praised for its sporty look, innovative new caliber, and easily-changed bracelet and strap options.

The watches targeted at men ranged in size from 40mm to 43.5mm, while the ladies' diamond Overseas measured 37mm. For some, the 37mm with diamonds was nearly perfect, with one serious caveat – did it have to come with diamonds? I know I have expressed my love of all things sparkly, but there is a time and a place, and a steel sports watch just isn't either. It would appear that Vacheron felt the same (or maybe read my mind?) and followed up at SIHH this year with a non-diamond 37mm Overseas. 

The 37mm Overseas Without Diamonds

The newest Overseas comes in stainless steel with either a blue or rose dial and in a two-tone steel and rose gold version with a rose dial. To me, this continues to prove that manufacturers are on board with the two-tone trend (love it or hate it, people, it's everywhere). But I digress. The case is still tonneau-shaped with the traditional round bezel with sections cut out around the perimeter, plus there's a removable bracelet. The dial is still the same, with bright white SuperLuminova indexes and hands, with a subsidiary seconds dial at nine o'clock (more on that later). Compared to the other Overseas models, it's a little smaller (37mm), thicker (10mm), and has a different movement (caliber 5200) that includes a sub-dial (not my favorite, but okay).  

How Does The Overseas Compare To Other Luxury Steel Sports Watches?

The Overseas is one of a few stainless steel luxury steel sport watches currently on the market. Jack, Arthur, and Stephen compared the Overseas with the Audemars Piguet Royal Oak and the Piaget Polo S in our latest Three On Three. Check out the in-depth story and video here.

I have to admit that when I first saw the new Overseas collection last year, I didn't like it. It felt flashy to me for some reason, though I am not sure exactly why. But then I kept seeing it – at events, in the office, online – and it started to appeal to me more and more. The real change of heart happened once I received the 37mm steel version and actually wore it around for a while. Now I'm hooked. The simple (but interesting) case design and the color of the blue dial are so crisp and clean. But I think the real selling point for me is the bracelet.

As someone who prefers to wear a watch with a bracelet, the construction and overall look are both incredibly important to me. In addition to looking awesome, I like the security of a bracelet and that when fitted the right way (*cough* not like a bangle) it doesn't move. At all. Now, I get that bracelets aren't for everyone, but to me the Overseas looks better on a bracelet. (I should note the the two-tone version does not come with a bracelet, just the stainless steel example, however both come with a rubber strap and an alligator strap). 

The Overseas bracelet is Fantastic with a capital F. Why? The links are brushed steel and are shaped like halved Maltese crosses (the official symbol of Vacheron), with polished edges giving just enough shine. This is a really fun design element and they also happen to link together properly without much space in between. This limited space in between the links allow for the watch to sit securely on the wrist, but still maintain fluidity. The twin-lock clasp is also something to write home about – easy to open, easy to close, and easy to wear, which are essentially the three things you want from a clasp (Who here has had to wrestle with a sticky clasp? I have, and it sucks.)

And the cherry on top? You can take the bracelet off without a tool and easily swap it for the accompanying rubber and alligator straps. Now, I know every true watch geek should be able to change their own strap, but that's just not realistic and can be dangerous (for both the watch and the person). This easy changing mechanism allows for anyone to be the master of the strap universe and change it themselves. This is something that I haven't seen since the Cartier Roadster, which happened to be one of my first watches and is sadly no longer in production. To be honest, I am surprised that more brands don't do this, but I suspect it has something to do with wanting to inconvenience their clients and force them to come into their boutiques or the local AD so they can try to hustle them to buy another watch. Just being honest here.

Inside the watch is the in-house caliber 5300 movement, which measures 22.6mm in diameter and is featured in all of the 37mm Overseas models. The movement has a 60-hour power reserve too, which is the same as the 41mm version. The movement is not only powerful, but is also gorgeous to look at with the refined finishing that we expect from Vacheron Constantin and it is completed with a 22k gold rotor complete with embossed signature. It's nice to see this watch receive the same internal treatment as the the rest of the Overseas collection. 

The only real qualm I have with this watch is that I wish the subsidiary seconds was located at six o'clock and not nine o'clock. What can I say, I am a bit of a traditionalist like that. Also, great news! No date window to be found anywhere on this one. Now, I love a date window for practicality purposes, but I know that many of you hate it (like really hate it), so breathe easy here. You're welcome. 

Final Thoughts

With a watch like this Overseas, it is important to remember that it is a luxury steel sport watch with a $18,400 price tag ($21,700 for the two-tone model). When compared to the Nautilus and the Royal Oak, you're getting a pretty good deal, and this is one of less expensive luxury steel watches on the market. 

Outside the higher-end of the market however, this watch is certainly spendy and not for everyone. I don't want that to distract from the watch itself though. If you are looking for a steel sport watch that's a little different than the usual suspects and have $18,400 to drop on this watch, then I say go for it. It looks great, is extremely comfortable, is well-made with an in-house movement, and is something that I would definitely consider as my everyday watch.

For more, visit Vacheron Constantin online. 

Summer is on the horizon, it’s the beginning of wedding season, and your weekends are currently packed with parties. Whether it’s a gift or a personal accessory, you need a watch – and we are here to help. This week, we have eight watches for your perusal: elegant timepieces for classy events, sport-inspired watches for your more casual outings, and ones that can go either way. Noble manufacturers, workhorse movements, and classic forms are the name of this week’s game.

1965 Breitling Co-Pilot Chronograph Ref. 765-CP

You’ll be excited to know that it was this watch, not the Rolex reference 6036, on Jean-Claude Killy's wrist during his amazing run at the 1968 Winter Olympics (that Rolex wasn't even produced in 1968 when Killy swept the Alpine races at Grenoble). The reference 765-CP (standing for Co-Pilot) was developed for pilots, with the Venus 178 movement modified to replace the 30-minute counter with a 15-minute counter typical for watches related to aviation. You can read more about this piece here. 

1972 Cartier Tank With Audemars Piguet Movement

It really doesn’t get any better than this, as far as basic Cartier Tanks go. The classic Tank design is rendered in yellow gold, with an enamel dial covering the slim Audemars Piguet movement within. It is understated, yet exceptional, and we absolutely love it. The thin manually-wound movement K2001/A is the heart of this piece, and the movement was also cased by Audemars Piguet in the 1970s, which was common practice for Cartier at the time. To learn more about this incredible piece, read on here. 

1983 Rolex Datejust Ref. 16014 With Original Papers

This Datejust comes with a bit of history in the form of its original sales receipt, punched guarantee papers, and pamphlet, indicating it was sold in Hong Kong in July 1984. The "4" at the end of the 1601 reference number indicates the presence of a white gold fluted bezel, which adds a subtle touch of luxury to an already sublime timepiece, and it works on basically any wrist for basically any occasion. Check it out here. 

The Full Set

Also on deck this week, we have a 1970s IWC automatic dress watch, a 1987 Rolex Oyster Date reference 15000 in stunning condition, a 1960s Breitling Sprint Reference 2010, a 1960s Zenith Respirator, and a 1970s Longines Ultra-Chron Automatic. See the full collection over at the HODINKEE Shop. 

There are very few events in watchmaking that bring the many corners of the industry together like the Grand Prix d'Horlogerie de Genève (GPHG). The annual award ceremony is hosted by a non-profit organization seeking to give notice to the best and brightest of modern watchmaking, and while not every brand or group participates (looking at you, Rolex and Patek), these are easily the most comprehensive and important awards given in watches. And this week the organizers have announced who will be sitting on the 2017 jury.

While many jurors from years past are returning – Elizabeth Doerr, Philippe Dufour, Claude Sfeir, Abdul Seddiqi – there is a new wave of more-than-accomplished experts joining the ranks for the first time. Most notably, independent British watchmaker Roger Smith is joining, as is our very own editor-in-chief, Mr. Jack Forster. Furthermore, Revolution's Suzanne Wong and independent vintage Rolex dealer and collector Eric Ku will round out this year's jury.

The initial round of watches that have been submitted for consideration this year will be available online in July, and from there the jury will narrow the selection down to a group of finalists a few months later before meeting in the fall to decide the victors and present the awards at a swanky event in Geneva. 

We'll of course have complete coverage for you the entire way through the process, and in Novemeber we will also be broadcasting the GPHG ceremony itself live here on the site for the fourth year in a row.

You can see the full list of jurors here.

By now, you've probably heard about the top lots from the upcoming Phillips sale. The Bao Dai, the stainless steel 6062, and the Patek 2523/1. Their rarity, their condition, and the high estimates that Phillips has been placed on these watches automatically make them the highlights of the auctioneer's next sale. Their status also makes them incredibly popular during previews, and, sure enough, when I arrived at Phillips in London to preview the May sale, these were already on a tray with a small group of collectors huddled around them in one corner of the room. I’d come back for them in a bit, I figured.

Opposite them, on the other side of the room, near the beautiful bay windows that look out onto Berkeley Square, I noticed one solitary gentleman snapping pictures of a Calatrava. Since I know only one man who would visit Phillips on a Monday during lunchtime and instantly recognized the Leica D-Lux pointing in the direction of the watch, I thought I should see what had caught my friend's eye. But before I could say hello, he turned around and instantly I knew he'd rather I wasn't there.

No, Arthur. Don't even think about coming near this one. You’re not going to be giving it any coverage.

Those are the words of a man who has made up his mind. Clearly, this was his personal favorite, and I could see why. The Calatrava he was busy photographing, lot 112 of the sale, is one of three stainless steel Patek Philippe reference 565 available and it’s absolutely stunning.

The Patek Philippe Reference 565

Patek Philippe launched the ref. 565 and Ref. 570 simultaneously in 1938, six years after the first Calatrava, and both new models had a lot in common. Both were 35mm, making them significantly larger than the ref. 96, and both retained the timeless, honest elegance of the Calatrava. But they were significantly different in other ways.

While the ref. 570 was produced predominantly in gold, its objective clearly being to build on the success of Patek’s classic dress line, the ref. 565 went in another direction and addressed the needs of a new clientele. Ref. 565 was one of the first Patek Philippe wristwatches to be made in series with a stainless steel case. It was introduced during an era when gold watches were in fashion and precious metals were certainly thought of as better investments. So these watches had to offer something else. And they did.

First of all, the ref. 565 had a screw-down caseback, making it the first large water-resistant Calatrava, and the watch provided better resistance to magnetic fields than most thanks to a soft iron inner case. These traits are the reason why people like Briggs Cunningham picked a stainless steel ref. 565 over the more luxurious ref. 570. These watches could be enjoyed whatever the circumstances, and so their owners could be as carefree as one could be in the 1940s with a Calatrava.

Collectibility

One reason I find these watches fascinating is the variety of styles in which they come. Very rarely have I seen the same ref. 565 twice, and my reaction to them is almost always different. In fact, I don’t like all 565s equally, but that’s kind of the point with this watch.

Ref. 565 Owner Roni Madhvani On What Makes This Reference So Special

"In terms of my particular 565, the rare combination of the dial elements goes a long way for its lure. In terms of comparing it to other Calatravas, I feel the case design of the 565 is as relevant and as attractive today as it was in the early 40s: even the case size in my mind stands the test of time."

Patek Philippe didn’t set itself too many rules when it came to making the ref. 565. Many came in steel, but some were made in gold. Some featured Arabic numerals, others occasionally had Roman numerals, and traditional Calatrava indexes even got the nod sometimes too.

The majority had a seconds hands at six o’clock, but again, there are exceptions – Patek also made examples with central seconds. During its 14-year production run, the original reference 565 would receive only one movement update, at the very end, when Patek decommissioned caliber 12’’’120 and replaced it with caliber 12’’’400. Same thing with the other version. Introduced in 1939, the watch would feature only two movements, caliber 12 SC and, from 1949 onwards, caliber 27 SC (the SC stands for seconde centrale, or central second).

The Breguet Dial Reference 565

Lot 112 is one of the Breguet dial variety, which are undeniably the most popular. This one has a beautiful creme dial and luminous baton hands, features in which Patek obviously still places a lot of faith, given their somewhat unexpected comeback at the upper end of Patek's current line-up. There's also a sub-dial at six o'clock for the seconds and a chapter ring around the edge of the dial.

It's one of the more unusual ref. 565, but it isn't unique. A few others like it have been sold at auction. Christie's sold a couple, the first in 2009 and the second just this past year, for $46,030 and $69,527 respectively. Others have traded privately too.  

What makes this particular ref. 565 jump out is the condition of its case, which is one of the best any similar ref. 565 that I know exists. That said, the condition of the dial shows that at some point the watch was sent back for a regular service and a clean – the comma and the accent in Patek's signature are no longer visible – but this was a pretty regular occurrence for watches from that period. It's something to be aware of, but not something to worry about too much. The lugs are still very full though and the case looks to be untouched.

There are a few other ref. 565s coming up at auction this May. Christie’s is offering a gold ref. 565 with central seconds and Arabic numerals at three, six, nine, and 12. The estimate for that watch is $20,173 to $30,259.

And, of course, Phillips is offering three models, all of them very different. Besides the one we've just discussed, lot 112, there is also a pink gold ref. 565 with gold Breguet numerals and a center seconds mechanism, and a stainless steel model ref. 565 retailed by Serpico y Laino. That one has an extraordinary two-tone dial, and it’s expected to perform the best out of the three. It most probably will.

The stainless steel models both carry higher estimates than the gold ref. 565, which Phillips is currently projecting will sell between $29,700 and $49,500. Phillips has placed an estimate between $29,700 and $59,500 for the Breguet dial ref. 565, while the model retailed by Serpico y Laino is estimated between $49,500 and $99,100.

Final Thoughts

This little ref. 565 may not be the most representative of the Calatrava overall, but it proves, once more, that there is nothing more beautiful than a really great vintage Patek. It also presents a rare opportunity to acquire a wristwatch that has a hint of the new ref. 5320G without jumping full-on into a modern perpetual calendar. It's simple, it's never going to go out of style, and this gem from the 40s can handle a modern lifestyle just as well.

I’m not saying it’s going set the world alight. I expect another watch – selling just 19 watches prior to this one – will do that instead. And, in fact, I suspect another ref. 565 will do even better than this one on the night. But when Aurel Bacs swings his gavel one last time, and talk of the Bao Dai once again fills the room, one person will be feeling quietly satisfied about their new watch.

The Phillips Geneva Watch Auction: Five will take place on May 13-14, 2017 in Geneva. The stainless steel Patek Philippe ref. 565 with Breguet numeral dial and luminous hands is lot number 112. You can read more about this lot and see the rest of the watches in the auction, on the Phillips Watches website.

Lucerne-based Bucherer is one of the oldest names in watch retail. The shop's 130th birthday is fast approaching (2018), and to celebrate they've created a capsule collection of watches all focused around the color blue. The latest of the so-called Blue Editions is this partnership with Tudor, the Heritage Black Bay Bronze Blue. And it's exactly what it sounds like.

Technically speaking, everything about this watch is identical to the original Heritage Black Bay Bronze that launched back in 2016. It's still a 43mm dive watch with a special bronze case that houses the Tudor MT5601, which is a chronometer-certified, in-house movement with a silicon balance spring. For more, check out Jack's in-depth story about living with the Black Bay Bronze here.

The differences are purely aesthetic, but they really do make a huge difference for this watch. Instead of the brown dial and brown aluminum disc set into the bronze bezel, we get both a blue dial and a blue disc here (just as you'd expect from the watch's name). The contrast with the bronze itself is much higher, and the watch really pops in the images we received. To complement the new color scheme, there's also a new blue and gold fabric strap with bronze hardware too. On the reverse, you'll find a special engraving commemorating Bucherer's 130th anniversary in 2018.

Here are a few more photos, showing off the details on the latest iteration of the Black Bay (for now).

The Tudor Black Bay Bronze Blue is available from today, exclusively through Bucherer. It is priced at 3,800 CHF, which is the same as the standard Black Bay Bronze. For more, visit Bucherer online.

Breitling is a pretty polarizing manufacture. Sure, they used to make true classics like the Top Time, but somewhere along the way they seem to have gotten lost. The watches got bigger and the advertisements more offensive. However, love them or hate them, you can't fault them for maintaining a strong brand identity and following it to the end (ask your average non-watch person and they will likely list Breitling as one of the brands they know next to Rolex and Omega). But despite all this, sometimes they come out with a cool watch that we here at HODINKEE can really get onboard with – and the Breitling Navitimer Rattrapante is definitely one such watch.

Breitling and the Navitimer have a very rich history. The Navitimer was introduced in 1952 when Breitling first created a "wrist instrument" designed for aviation. At the time of its design, it was the ultimate tool watch and featured every tool that a pilot would need while flying. It integrated the slide rule, which could also be found in the Chronomat, for taking in-flight measurements. In the first year of production, the watch was powered by the Valjoux 72 movement but later moved to the Venus 178, then they moved to the famous automatic caliber 11. The watch saw many iterations throughout the years (including a quartz digital version) and recently celebrated its 60th anniversary in 2012 with a limited edition blue dial version with an in-house movement.

The Navitimer Rattrapante is the latest addition and it was released earlier this year at Baselworld. It features both a take on the original Navitimer dial and a split-seconds chronograph function, the combination of which is a first for the manufacture – plus the movement is made entirely in-house. You may recall the Duograph from Breitling, a split-seconds chronograph from the 1940s, and this watch is now very collectible, so it is nice to see Breitling referring back to its heritage. 

The caliber B03 is chronometer-certified and is an automatic movement that is visible through the sapphire caseback, which is a really nice touch. The finishing is decent and the rotor, floating over the top of the chronograph works, is branded with the Breitling name. It is important to emphasize that this movement was all made in-house, showing that Breitling is making serious moves in a market where people care about craftsmanship more than mass-produced watches. A rattrapante is one of the more difficult complications to engineer, and Breitling deserves real credit for tackling it.

More On Split-Seconds Chronographs

If you are curious to learn more about the history of split-seconds chronographs, be sure to check out this story from PH Zhou. It's filled with tons of great photos and goes in-depth on the split-seconds mechanism and where it comes from.

In addition to making its own in-house rattrapante, Breitling also equipped the start-stop mechanism with a special isolating mechanism to preserve energy. As far as I can find, the Patek Philippe reference 5370 is the only other watch to use something like this. Breitling's mechanism has two patents and allows the movement to be much more efficient. Basically, when you start the chronograph and stop the first chronograph hand, it is held in isolation, separated from the still-running train, creating less friction. When you press the button again, the hand is re-connected and continues as usual.

The Navitimer Rattrapante is available in two cases, steel and red gold. It measures a whopping 45mm in diameter, so it still falls into ridiculously large territory. The case shape itself is similar to the original Navitimer, with the thin ridged bezel and turn-down lugs. The chronograph pushers are round and large enough for easy operation, just how you would want them to be, and the split-seconds function is activated by a button set into the crown. Action on all the functions is crisp and clean, though we got limited time with this piece at Baselworld (and are looking forward to exploring it further soon).

The brown dial falls right on trend with the faux-patina epidemic we saw at Baselworld. To be clear, I still have not decided how I feel about this trend – the watch manufactures are kind of damned if they do and damned if they don't. People wanted vintage-inspired watches and got faux patina, which in theory looks great but in reality just doesn't feel as cool. But I digress.

The dial on the new Breitling Navitimer resembles a vintage tropical dial and features three registers and a date window. The date window is placed between four and five o'clock, which is probably my least favorite place to put a date window. I'll let you all fight to the death on that down in the comments section though. The red gold model is available on a leather, crocodile, or rubber strap, while the steel has all these options plus a steel bracelet available as well.

Overall, I think that this is a really nice release from Breitling. It shows that the brand is taking real watchmaking more seriously, and in a big way. It is clear that time and effort was put into coming up with something interesting that mixes innovation and heritage, and even though this watch is not for me on a personal level, I can see how others might want to purchase it. 

The Navitimer Rattrapante will set you back $11,090 in stainless steel and $32,895 in red gold, which is also limited to 250 pieces. For more, visit Breitling online.

For a website that talks about sports watches on a weekly basis, we’re pretty quiet about what it’s like to actually play sports with a watch on. It’s something our readers have noticed and discussed from time to time, and it hasn't slipped my mind. Luckily, Rado recently gave me the opportunity to do two things I haven’t done in a long time: play tennis and do so while wearing a sports watch.

I used to play tennis regularly when I was a teenager. I would train three times a week for two hours, and play competitively on the weekends. One of my favorite aspects of the game was the almost ceremonial routine that precedes every match. Every week, I would place my tennis bag in the same spot next to me, take out one racket, take off the old grip, put on a new one, pluck the strings until each was parallel to the ones on either side, take a sip of water, and then, just before heading onto the court, I would take off my watch.

There was simply no way I was wearing a watch on the court. Too heavy, too uncomfortable. Never mind that I might damage the watch, I took it off simply because I didn’t see any reason to keep it on and didn't like the feeling of it while playing. And then one day I stopped playing tennis. I went to university, got a job, moved to abroad (twice), and never really found the time, or the tennis partner, to get back on court.

Last week, almost 10 years since my last game of tennis, I was back on the court, wearing the wrong sports shoes, holding someone else's racket (amazed by how light they have become), but my watch was still tucked away safely. Instead, this is what I wore:

Rado calls it the Automatic Chronograph Match Point, and it’s a limited edition in the HyperChrome collection, a series of watches that share a lightweight, high-tech ceramic case. This one aims to please tennis enthusiasts by incorporating some elements of the game into the watch.

Some of the features, such as the 00, 15, 40 markers on the seconds dub dial (which are a nod to the game’s point system) are a little on the nose. Others are more innocent. I quite like the grill mesh inside the 12-hour counter, which is taken from the tennis net and adds a little texture to the dial.

It’s a chronograph, and of course that prompts the question: what’s the purpose of a chronograph with a tachymeter scale in a tennis watch? I wasn’t sure before stepping on court, and honestly I still can't tell you. However, it makes the watch feel sporty and it serves a purpose off the court, which can’t be a bad thing, right? In my mind, it's certainly better than concocting a complication that can only be used during a specific sport – I'm looking at you, TAG Heuer Special Edition Tribute To Muhammad Ali.

Where the Match Point LE scores some major points is the lightness and comfort to the watch on the wrist. I mean this in the best possible way, but I quickly forgot that I was wearing it, which meant I could focus on my game (which I really needed). At no point did the watch feel like a distraction, nor was it cumbersome, despite being 45mm in diameter. Since the case and the bracelet are made of ceramic, with stainless steel used only in very limited doses for the side of the case and for the crown and pushers, the watch ends up being really light and it doesn’t feel cold on the skin. This is a small detail, but one that is very noticeable if you’re playing sports in cooler climates. The case and bracelet have a matte finish, while the center links and the bezel are polished. The combination works really nicely overall.

The HyperChrome Automatic Chronograph Match Point is limited to 999 pieces, and is priced at $4,800. Of course, it faces some pretty stiff competition from other chronographs at that price point, not to mention coming up against smart watches, which have conquered the wrists of many athletes, including the tennis player coaching Rado's guests. But when it comes to mechanical timepieces, this is a truly credible sports watch.

For more information, visit Rado online.

This week gets technical with an early Vacheron Constantin automatic, and a "Pre-Daytona" Rolex chronograph that comes with a stunning tri-color dial. You will also see one of the last classically-shaped Memovox from before the funky cases of the 1970s arrived. Finally, we end with an edifying Breitling franken-watch, a wannabe Sprint 2010 that shows one of the worst dials we have ever had the pleasure of finding.

Vacheron Constantin Automatic Ref. 4906 With Original Papers

The Vacheron Constantin reference 4906 was all about functionality in the 1950s, offering an automatic caliber and a screw-down waterproof caseback. Its case measures a substantive 35mm across, while a vast number of dial/hands combinations exist, true to Vacheron Constantin's form in that era. In a letter to its retailers dated from the 1950s, the manufacture had indeed indicated that it never released more than 24 examples with the same design, which explains the countless variations of indexes and handset shapes that can be found for the very same reference. 

The watch here is said to come directly from the original owner, and shows a well preserved yellow gold case. The automatic movement is not described but it is either the elusive bumper caliber 477/1, only produced between 1950 and 1952 and cased afterwards, or the caliber P1019 with full rotor, produced from 1958. Given that the original papers indicate a sale in 1962, and assuming the watch did not remain in inventory for a long time, the presence of the caliber P1019 comes with a higher probability; both movements are very fine automatic calibers in any case.

This one-owner Vacheron Constantin is offered on Instagram for $12,000, which seems significantly above the observed market value of the reference 4906; the seller is also considering lower offers.

Rolex "Pre-Daytona" Chronograph Ref. 6234, With Flawless Tri-Color Dial

Often described as "Pre-Daytona", the Rolex references 6034, 6234, and 6238 already bring the chronograph in an Oyster case, but they come with a smooth bezel, while the reference 6239 would finally introduce the graduated bezel. Out of all these Pre-Daytona, the 6238 comes with the very sober silver and black dials that almost announce the panda and reverse panda dials of the Daytona, while the 6034 and 6234 often have more colorful dials like this one.

The 6234 here is a great example of what I mean, with a red telemeter scale and a blue tachymeter scale, while the minute track is printed in black. The case still shows thick lugs, and its comes with an expansion bracelet manufactured in the U.S. (this information can be read on the clasp). The tritium lume shows an even patina between the handset and the lume plots. However, the sheer presence of tritium (also denoted in the "T Swiss T" line at the bottom of the dial) makes me doubt that the serial number of the case would be in the 130k range dating it to 1956, way before the tritium was first used in a watch. To me, it is probably a typo from the seller and the correct serial number is around 530,000, which would date the watch back to 1961, a much more consistent period for tritium use.

The dealer IconicWatchCompany has this superb Rolex chronograph reference 6234 for $49,000.

Jaeger-LeCoultre Memovox Speed Beat Reference E875

The Jaeger-LeCoultre Memovox reference E875 earned its Spead Beat name (notably engraved on its caseback), thanks to its caliber 916. This movement with alarm complication replaced the iconic 825 with bumper mechanism, and increased the frequency from 21,600 to 28,000 bph. It relies on a full rotor and still displays the date at three o'clock. The E875 kept much of the design of the earlier Memovox, with a round 37mm case while the 1970s would eventually see some more daring case shapes introduced to the line.

In comparison to the previous reference E855, the applied "JL" logo is now placed at nine o'clock and the Memovox signature can be found at the bottom of the dial, below the six o'clock index. The watch here comes with the correct crowns, both signed, and a signed buckle as well. The overall condition looks great, although the lume has unfortunately fallen from the minute and hour hands.

The dealer Cars And Watches offers this this high-beat Memovox reference E875 for €3,750 (approximately $4,110 at time of publishing).

Bidder Beware – A Problematic Breitling Sprint Reference 2010

There is very little chance of someone getting duped by this Breitling, with the seller indicating on the EBay listing that the Valjoux 7730 movement is its main asset. Indeed, everything else is incorrect for the Sprint reference 2010, from the case that should bear a rotating bezel to the handset, which should come with a black stripe (and don't even get me started about the horrendous chronograph hands). 

While its issues are plentiful and obvious, it is fascinating to look at its "Butterfly" dial, one of the worst redials you'll find anywhere. The characteristic black triangles should extend up to the edges of the sub-registers, which are incorrectly placed here as they should not bump into the minute track. If you add the incorrect indexes and fonts it becomes very clear that the dial was never born as a Breitling. 

Bidding for this entirely incorrect Breitling Sprint reference 2010 was still below $100 on Ebay at time of publishing, and rightfully so.