Jon Edwards

Kalle Slaap provides a rare peak under the hood of a Thomas Tompion pocket watch.

The latest from Max Büsser and his friends brings a hypermodern take on midcentury modern. Miniaturizing George Nelson's ball clock aesthetic, flanked by a thermometer and power reserve indications, along with a novel, transparent crown requiring 8 gaskets to maintain the timepiece's water resistance rating of 20m. To say that the crown is oversized would be an understatement.

Notably, unlike pretty much any other thermometer ever integrated into a watch, the elevated architecture of HM11's case frees the thermometer to read the ambient temperature relatively accurately, essentially uninfluenced by the wearer's body temperature.

While Nelson's name is the one emblazoned on the caseback of each authentic ball clock, no one knows for certain who actually catalyzed the design. In Nelson's own words, recorded by his biographer, Stanley Abercrombie, the design is presumed to have initially been conceived by Isamu Noguchi over drinks with Nelson and Buckminster Fuller one evening in 1947.

The machine used by Dominique Buser and Cyrano Devanthey, of Oscillon, to apply a circular-grained finish to various components of their timepieces.

HODINKEE's James Stacey, Rich Fordon, and Danny Milton walk through the history of the Omega Seamaster 300, from inception through to a balance of both its most reverent and its most conspicuous incarnations in the modern era.

It's worth noting that, while Omega's characteristic lyre lugs are most associated with the Omega Speedmaster and the manufacturing date in a number of early lyre lug Speedmaster casebacks date to around the same time as the lyre lugs' debut in the Omega Seamaster 300, commercially speaking, the first Omega to make the complete switch from straight, tapered lugs to lyre lugs was the Seamaster 300.

Steve Mould provides a tangible and lighthearted look at how electrical discharge machining works.

21^st century sheet metal forming—with robots.

David Ichim, writing for Watches by SJX, takes a deep look at the remontoire system and novel escapement in F.P. Journe's Chronomètre Optimum.

Distilled from Mr Journe’s vision of a perfect chronometer, the watch certainly is meant to be a purist’s timepiece, albeit not a perfect one. The movement performance is perhaps hampered by its own over-engineering and reveals Mr Journe’s predilection for complexity, particularly in the EBHP [high-performance, bi-axial escapement].

Of note, the dual escape wheels and lever in the Chronomètre Optimum are crafted out of titanium, resulting in a lower moment of inertia and less energy draw from the remontoire system.

One aspect of the article I would push back against, unrelated to the Chronomètre Optimum apart from the fact it stands in contrast to the point, is Ichim's sweeping under the rug of Journe's lack of an overcoil in other timepieces in the brand's offerings.

Irrespective of the size of the balance wheel, a hairspring that does not breathe concentrically will have an adverse effect on isochronism. While it is possible to achieve concentricity in a flat hairspring by varying the spring's geometry, as with the Syloxi hairspring from Rolex or the Spiromax from Patek Philippe (both made from silicon), this is not the case when it comes to Journe's flat, wire hairsprings. Coincidentally, Journe has previously dabbled in the production of flat hairsprings that breathe concentrically in partnership with U.S.-based Firehouse Horology and validated the spring's efficacy in a prototype Chronometre Bleu. Unfortunately, in the wake of the global pandemic, Firehouse Horology has ceased operations.

Due to the inherent nature of how TPT composites are made, which Richard Mille employs adeptly in the fabrication of its cases, in profile the layers resemble the build lines that are equally inherent in the output of additive manufacturing processes, like 3D printing.

The boring machine used by Dominique Buser and Cyrano Devanthey to precisely cut the holes in the mainplates of their timepieces.

Reviving the spirit of Harry Winston's Opus series of collaborations from the turn of the millennium, which were initially spearheaded by Maximillian Büsser, Jean Arnault of Louis Vuitton has unveiled the LVRR-01 Chronographe à Sonnerie in partnership with Rexhep Rexhepi's Akrivia. This chiming chronograph with 5-minute tourbillon represents the first of five collaborations that Jean Arnault intends to embark on with Louis Vuitton and other independent watchmakers over the coming years.

Of note, according to Jean Arnault, this collaboration marks the first time in its nearly 170 year history that Louis Vuitton has integrated its logomark into the logotype of another brand. Meanwhile, Rexhepi has stated that this particular piece will be the last to be branded with the Akrivia trademark. All future timepieces will follow the lead of his Chronomètre Contemporain in bearing his name instead.

Brandon Moore, writing for Watches by SJX:

Arguably both the largest founder-led artisanal brand and the smallest industrial brand, F.P. Journe occupies a market niche all its own, making watches like no other.

Interesting to note that in addition to the new dials that Journe's Les Boîtiers de Genève (BDG) produces for itself and others, BDG also provides restoration services for a number of storied brands.

I've long admired miniature enamel painting—even before I trained to become a watchmaker. One thing I did not anticipate appreciating about them until after working on a few, though, is how much easier these small masterworks make it to spot pieces I've worked on at auction and how much more strongly my mind associates with them than their plainer counterparts. This is the second time this unique piece that was painted by Hélène May-Mercier for Patek Philippe has hit the auction block since it first crossed my bench a little over a decade ago.