fave!! #goldnecklace #vca #vancleefarpels
Memoria Technica is the Seattle based workshop of artist and horologist Brittany Nicole Cox, offering conservation and educational services.
Memoria Technica is the Seattle based workshop of artist and horologist Brittany Nicole Cox, offering conservation and educational services.
Memoria Technica is the Seattle based workshop of artist and horologist Brittany Nicole Cox, offering conservation and educational services.
Salvatore Ferragamo Womens Sfuf00121 Watch Silver Guilloch Dial 34mm Case. New Elevate Your Style With This Stunning Salvatore Ferragamo Giancini Wristwatch. Crafted With A Silver Stainless Steel Case And A Blue Leather Strap, This Timepiece Features A Beautiful Silver Guilloch Dial With Roman Numeral Indices. The Watch Is Powered By A Swiss Quartz Movement And Protected By Sapphire Crystal, Making It Water-Resistant And Scratch-Resistant. With A Round Shape And A 34mm Case Size, This Watch Exud
#watchesandwonders2024 Ulysse Nardin presents the Freak [S Nomad], a limited edition of 99 pieces with a 45 mm titanium and carbon case and a sand-colored guilloché hour disc. The model is equipped with the in-house UN-251 automatic movement, with two oscillators inclined at 20°, which rotates around its own axis like a carousel. 💰 USD 148,300 . A Ulysse Nardin apresenta o Freak [S Nomad], uma edição limitada de 99 peças com caixa de 45 mm em titânio e carbono e um disco de horas com guilloch...
The Homage to F.A.Lange collection is of course a tribute to F.A.Lange but also a tribute to 3 previous LE watches. It is composed by 3 watches: Tourbograph (50 pieces) Lange 1 Tourbillon (150 pieces) 1815 Moonphase (265 pieces) They all feature honey-coloured gold, a very specific gold which has a nice color and which is much harder than the usual PG (above 300 Vickers). You will notice the specific guilloch on the dial and of course, the decoration of the calibers. Tourbograph (manually wound, power reserve of 36 hours, one minute tourbillon, fuse and chain transmission and rattrapante chronograph, diameter of 41,2mm and thickness of 14,2mm). Lange 1 Tourbillon (manually wound, 72 hours of power reserve, one minute tourbillon with stop seconds, ...
Breguet @ Basel 2015 rose engine turning of a Breguet dial photos and video Besides the impressive novelties that Breguet introduced, it is always wonderful to see traditional crafts that are part of the Breguet heritage, yet still very much alive today. Rose engine lathe The machine is dated, approx. 100 years old. Looks wonderful in my eyes. If you are familiar with Breguet, you are also familiar with their beautiful guilloche dials. I am certainly an admirer of guilloche dials, however I was not really clear how they are made. Here is a definition of the rose engine I found on the web: A rose engine lathe is a specialized kind of geometric lathe . The headstock rocks back and forth with a rocking motion or along the spindle axis in a pumping motion, controlled by a rubber moving against a rosette or cam-like pattern mounted on the spindle, while the lathe spindle rotates. Rose engine work can make flower patterns, as well as convoluted, symmetrical, multi-lobed organic patterns. The patterns it produces are similar to that of a Spirograph , in metal. No other ornamental lathe can produce these rose patterns. The decoration produced by a rose engine lathe is called Guilloch . Selection of dial patters manufactured with the rose engine. And here is the link to a youtube video sequence, which shows the operation of the machine https://www.youtube.com/embed/oEXWCwpI6nM Best, Stefan This message has been edited by nitediver on 2015-05-04 13:56:00
If one has a particular interest in the Independent watchmakers, it does not take long before Christian Klings comes to notice. Whilst he may have flown under the radar for some years, he has been a member of AHCI since 2009 and his magnificent tourbillon No 7, particularly, gained a lot of attention when first exhibited. Further investigation at that time quickly established that Christian (Chris) was that rare beast whose imagination extended beyond the mundane. He routinely realised novel or complicated watchmaking solutions, such as his mosquito and desmodromic shock-resistant mechanisms for chronometre movements or his watch with a PR of 1,008 hours (in which the movement is wrapped around a giant mainspring barrel!). It was not a simple matter, however, to capture his attention. A first attempt four or five years ago met with little success (although to be fair that may have been a product of his busy-ness at that time or some other communication issue). All of that changed on 26 January 2012 (Australia Day, as it happens) when an idle moment afforded a second chance at communicating with Chris, a communication to which he responded quickly and positively. Yes, he was prepared to take a commission. Yes, he was prepared to design a movement from scratch. Yes, he was open to suggestion on elements of the design. Thus began the exciting experiment of trying to communicate ideas and concepts across half a world for those ideas to be captured and reflected by an artist, in metal. Here was a chance to draw together all those elements of other watches which had strong appeal from a personal perspective. You may recall one post in which some of these ideas were shared ( http://home.watchprosite.com/?show=forumpostf&fi=17&pi=3482851&ti=563751&s=0 ) Basically, those preferences break down like this: Simple watch (generally time-only); Independent watchmaker; Artisanal finish, showing the hand of man; Exhibition case of a discreet, modern proportion; White metal; Purposeful, industrial movement; High degree of finish; Personal touches; Watchmakers signature elements. These preferences were communicated to Chris, often (it has to be admitted, sheepishly) by sending through photographic examples of those features as they appear in other watches. Chris obliged by accommodating every preference although, tellingly, the final product is eerily like many of his other pieces. That speaks volumes about the appeal, conscious or subconscious, of the Klings atelier style. In the final spec the case is white gold; Chris offered 37mm or 42mm, but when asked to fit the movement and up-rated balance wheel into a 40mm case he found a way to do so. The artisanal finish is evident in the hand engraved numerals and indices. Chris signature elements are those lovely lugs andwell...his signature. The rest should all speak for itself. This was Chris first design for the watch, trying to minimise the bulk of the bridges and do away with plates: Before he had even received a response, though, like a mindreader he sent through this second design which was just about spot on from this point it was only a matter of tweaking here and there: Chris was marvelously communicative as the process unfolded and seemed genuinely enthusiastic about the project. On a regular basis he would send through pictures of the various parts that he had manufactured and on one occasion even sent through a picture of the bench at which the watch was being made. (Chris changed studios half way through the process to avail himself of a more relaxing environment). When viewing the photos, it is worth remembering that Chris works with the old, traditional, tools and none of those fancy CNC machines and the like. Apparently he makes nearly all of the parts himself. Here is a close up of a bridge complete with chaton. Note the screws retaining the chaton la Lange (as some have suggested): In this movement shot it is possible to see the secondary anchor for the intermediate bridge. Note that the jewels in the chatons all nearly line up. As may be seen from one of the early designs, it looked like they would be perfectly aligned. One of the particular specifications, however, was a large balance wheel (now a very healthy 16mm) and up-rating the size of the balance wheel from 13mm whilst keeping the diameter of the case to 40mm meant sacrificing the symmetry of the movement somewhat. It also presented a headache for Chris in that he had to strengthen the axles for the geartrains and then re-regulate the watch for the larger balance wheel, but he handled it with aplomb. Heres an early shot of the dial. Initially the inner dial was to be guilloched, but Chris sent through this photo as a suggestion: What is the pattern/material with which the inner dial is decorated? That, dear friends, is patterned silk! Chris believes that it will not fade, will not bubble and will not pick up any lubricant stains. Maybe hes right, maybe not, but the sheer quirkiness of the suggestion made it a winner it can always be replaced down the track if needs be, but until then it brings a smile to the face every time. As you can see, the Breguet hands, the hand-engraved Roman numerals (dark blue) and dial layout are quite similar to other Klings watches. That is deliberate. There are subtle differences (the size of the sub-dial; the indices on the outer track), but this is the Klings DNA which was so appealing in the first place. Its on the flip-side where the watch departs from anything else: as noted in a previous post, its all about the bridges. The back-plate was to be finished originally in soft Geneva stripes, but Chris ultimately frosted the back-plate in order not to detract from the simple aesthetic a good call. Its a style which has become known as English frosting or English finishing, but by all accounts it was popular in other countries long before the English made it their own. Perhaps somebody with a greater well of knowledge would care to comment? The final result? Thank you, Christian Klings, for interpreting, translating, realising and thrilling. Thank you all for tolerating this indulgence. Cheers, pplater.
