The intriguing history of digital time display

Digital watches in the 1970s may have been unprecedented, but mechanically actuated digital time displays can be traced back to pocket watches from the 1830s.

By Jonathan Keats 31/12/2017

Announcing the new Pulsar Time Computer in the early 1970s, the Hamilton Watch Company advertised its pioneering electronic digital watch as “the first completely new way to tell time in 500 years.” It became an instant icon. With a bright-red LED screen activated by a button, the Pulsar captured the imagination of a public that associated computers with hulking mainframes. The US$2,100 ($A2700) timepiece was soon spotted on the wrists of technophiles both real and imagined, from President Gerald Ford to James Bond.

But serious watch collectors knew that Hamilton’s boast was bogus. The Pulsar’s quartz-calibrated microcircuitry was unprecedented, but mechanically actuated digital time displays could be traced back to pocket watches from the 1830s, and mechanical digital wristwatches appeared as early as the 1920s. The first completely new way to tell time was in fact a novelty many times over. And each time — as Hamilton would learn at great expense when the market was swamped with cheap imitations — the trend passed in a flash.

We are now in the midst of another major comeback, not only with the onslaught of smart watches but also with the debut of innovative new mechanical timepieces such as F.P. Journe’s Vagabondage series and the A. Lange & Söhne Zeitwerk. Although history tells us to be wary, present-day watchmakers — at least those building movements with gears and springs — are familiar with their digital forebears as never before, and the past is actively informing new creations. After nearly two centuries of serial reinvention, digital may finally be emerging as an authentic tradition.

Part 1
The first major episode in the history of digital time indication foreshadows the Pulsar moment in both boldness and disappointment. It was 1881, and the International Watch Company was in need of a standout product after struggling for more than a decade to establish a market. Somehow the new owner, Johannes Rauschenbach-Schenk, learned of an invention by an Austrian father and son — both named Josef Pallweber — and decided that their mechanism could turn his business around.

The invention was an under-dial module for digitally displaying the time on a pocket watch. Digits were painted on discs visible through windows on the watch face, with hours on the top and minutes on the bottom. Instead of turning gradually, the discs jumped every 60 seconds.

Although Abraham-Louis Breguet included jumping hour hands on some pocket watches in the early 19th century, and companies including Le Roy used numbered hour discs as early as 1830, the Pallweber system was the first to combine these ideas in a fully digital time indication. “It was a radical new way of showing the time in a time of technological change,” says IWC museum curator David Seyffer. “Mr. Rauschenbach had to have it, and he paid a hell of a lot of money for the patent.” The overall investment, including the cost of putting the watches into production, was more than US$10 ($A12.8) million in today’s money

Initially it looked like Rauschenbach had made a good bet. The timepiece was marketed as “the watch without hands,” and the IWC workshop couldn’t keep up with demand. But the mechanism proved more difficult to manufacture than Rauschenbach envisioned. The discs took considerable energy to turn because they were heavy and friction was required to hold them steady. At first the total running time for a Pallweber was less than 24 hours. Although dozens of changes in design and materials incrementally improved performance, manufacturing of the testy movements remained inefficient. Around 65 percent of each mechanism for the men’s Pallweber had to be crafted by hand. As a result, production of a Pallweber cost the company nearly twice the outlay for an ordinary movement. “They had huge plans to capture the whole U.S. market,” says Seyffer. With limited manufacturing capacity and high expenses, they never stood a chance.

Meanwhile other companies caught on to the digital trend and started to engineer their own mechanisms. These look-alikes took Rauschenbach by surprise, even more than the difficulty of putting Pallwebers into production. “He really believed that the Pallweber patent protected the digital way of showing the time,” says Seyffer. “Judges all over the world ruled that the patent only protected the mechanical means.”

Over the course of the 1880s, the market was flooded. By the tally of watch historian Alex Kuhn, more than 36 distinct movements were produced by 11 manufacturers, including Cortébert, Minerva, Wittnauer, and Lange.

During this period, operating in an increasingly crowded market, IWC was able to sell an estimated 20,000 timepieces. “But then suddenly in the 1890s, digital displays weren’t fashionable anymore,” says Seyffer. “People went back to the traditional way of telling the time.” IWC and other companies ceased production. A bitterly disappointed Rauschenbach turned his attention to precision chronometry, and the futuristic watch without hands was unceremoniously consigned to the past.

Part 2
In the early 20th century, people started to process time in a strikingly new way. Advocates of scientific management decreed that work hours should be strictly apportioned, and employees should be carefully monitored so that their labour could undergo cost analysis. Employees themselves facilitated this modern form of capitalism by punching in and out on mechanical time clocks. At least twice a day, they saw a digital time stamp on their punch cards.

Although the primary manufacturer of time clocks was the International Business Machine Corporation of New York, the development did not go unnoticed in Switzerland. In the early 1920s, Audemars Piguet began making wristwatches with a digital time indication. “The company was always interested in what was most modern,” says Audemars Piguet historian Michael Friedman. “And time clocks were the most prolific clocks of the era.”

So began another digital watch fad, apparently oblivious to the Pallweber mania of the 1880s. This time the jumping action was confined to the hours. (The minutes were also displayed on a disc, situated below the hours indication, but that disc rotated continuously.)

As Friedman observes, the system was essentially equivalent to a traditional calendar mechanism. “It’s a matter of under-dial work, of cadrature, which was very well established in Vallée de Joux watchmaking,” he says. Unlike the Pallweber movement, which was a genuine technological breakthrough, Friedman views the Audemars Piguet digital display as “a design-driven innovation.”

The modern design aesthetic was applied to every element of this timepiece. Rectangular in form, Audemars Piguet jumping-hour watches were distinguished by bold Arabic numerals and angular Art Deco cases. They looked like machines. That was no accident, observes Friedman: “Watches are not siloed objects, but are part of the culture.” The reciprocal relationship between the era and the digital time indication made digital watches enormously popular up until the Great Depression. (In addition to Audemars Piguet, Deco-styled jump-hour watches were produced by companies ranging from Rolex to Elly.) And then, as the stock market crashed, they vanished once again.

Part 3
As an apprentice to the famous clockmaker Johann Gutkaes in the early 1840s, Ferdinand A. Lange worked on an unusual clock for Dresden’s opera house. The clock showed the time digitally, with jumping hour and 5-minute indications arranged horizontally, foreshadowing the horizontal display of time made commonplace by the Hamilton Pulsar and its electronic-digital successors.

More than a century and a half after the Semper Opera House opened, A. Lange & Söhne decided to develop a digital wristwatch inspired by Gutkaes’s clock. Unlike the modestly sized two-tier digital displays of antique watches, the company sought a horizontal display with very large digits. The watchmakers were well aware of the challenges they faced: the problems of Pallwebers writ large. “Instantaneously moving big discs every minute requires a lot more energy than moving hands,” says Lange director of product development Anthony de Haas. A powerful spring is needed. “But if your mainspring is too strong,” he explains, “you can’t power an escapement with it.”

In search of a solution, de Haas researched the past, in particular Lange’s own legacy as a manufacturer of digital pocket watches. Lange technicians made computer simulations of new movements based on the Pallweber and also the Dürrstein system, which was the mechanism Lange used in the 1880s to circumvent IWC’s Pallweber patent. The Dürrstein showed promise, says de Haas, as it had the advantage of running the digital display on a separate gear train. But he found that it consumed too much power. Instead he opted to ditch digital precedents completely, learning from their inadequacies.

The mechanism he developed adapts the classic remontoir d’égalité. It uses a mainspring twice as powerful as normal, but the power is conveyed to a secondary spring every minute, as the discs jump. The secondary spring powers the escapement for the next 60 seconds. “You not only have a watch that indicates time digitally,” de Haas says, “but it’s also a very precise watch because it has constant force.” Released in 2009, the Zeitwerk has subsequently undergone numerous permutations — including a decimal chiming mechanism — further exploiting the remontoir’s energy distribution.

Concurrent with Lange’s developments, other contemporary watchmakers have revisited the history of digital watchmaking, resulting in other innovations. One of the most unconventional is F.P. Journe.

Since 2004, Journe has systematically explored combinations of digital and analog time display with his Vagabondage series, taking inspiration (and forewarning) from digital pocket watches in his personal collection. “The mechanisms of antique pocket watches with digital indications are really catastrophic mechanically,” he says. “Much precaution is needed to avoid the numerous traps.” He ultimately overcame the problems of accuracy, and the related challenge of providing sufficient power, by developing his own remontoir d’égalité.

With the Vagabondage II of 2010, the mechanism imparted constant force every minute, equivalent to the Zeitwerk. This year Journe used the same system to release energy at 60 times that rate, one revolution per second, creating the world’s first mechanical timepiece with digital seconds.

The range of digital displays and mechanisms that have appeared over the past decade is unprecedented, with recent novelties released by companies including Hublot, Chanel, Hautlence, and MB&F. Michael Friedman is not surprised. “We’re moving deeper and deeper into the digital age, and these analog watches that flirt with digital aesthetics are appealing to contemporary collectors,” he says. “You know something is gear driven, yet the display is incredibly futuristic and contemporary. That’s an exciting dichotomy.”

Over at Lange, de Haas holds a similar opinion. He’s observed that the Zeitwerk has been especially popular with the business leaders of Silicon Valley and technophiles more broadly. “The younger generation is accustomed to digital displays,” he says. “It’s how they see time.”

Ironically, the Hamilton Pulsar may have made possible the transition of digital-mechanical timekeeping from trend to tradition, by priming the revolution that made quartz-based digital time indication ubiquitous. The Pulsar was not the first completely new way to tell time in 500 years — but the Pulsar age was the first to free mechanical watchmakers to pursue watchmaking for its own sake.

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How Off-the-Rack Suits Got Sophisticated Enough to Win Over Bespoke Guys

Ready-to-wear tailoring has never been better, and it offers even the most particular dressers a fast, easy platform for experimenting with their look.

By Aleks Cvetkovic 18/02/2025

The world moves fast—and for once, tailoring is moving a little bit faster.

Guys around the globe are rediscovering their love of suits, but many have determined that they can’t stomach the monthslong wait for bespoke. The good news? Ready-to-wear tailoring has never been better.

That’s in part because bespoke makers are beefing up their off-the-rack offerings. Anderson & Sheppard’s shop-in-store at N.Y.C.’s Bergdorf Goodman—the first outpost beyond its London flagship— opened in December with, among other things, a sharp wool-and-cashmere jacket in a delightful shade of teal. Huntsman’s recent fall-winter collection, billed as its most comprehensive assortment yet, offered everything from tuxedos to shooting breeches. Even Leonard Logsdail, Hollywood’s highly esteemed bespoke purveyor, is experimenting with hem-and-go models.

But non-custom tailors are upping the ante, too. Some of the best ready-to-wear suits on the market come from such brands, whose wholly distinctive points of view provide a welcome departure from the rigidity of many bespoke tailors’ house styles. The preponderance and diversity of such high-quality, easy-to-access threads has recast off-the-rack suits as the ultimate way to experiment with your look, not just a way for some to get dressed on the cheap. What’s more, it reflects the new reality that even people who suit up regularly might want to show up looking different on Thursday night than they did on Tuesday morning.

“Life nowadays is much more fluid,” says Chris Modoo, a London-based stylist who once worked as a tailor on Savile Row. “Things happen, invitations appear. You might get an invite for a black-tie party in the South of France for next Saturday.” Ready-to-wear is the obvious solution when you’re in a last-minute menswear quandary, but “it also means you can try new things.”

One maker worth a test-drive is Husbands Paris, founded by Nicolas Gabard, who sees his role as an “archivist of the past.” His look, inspired by stylish men such as Yves Saint Laurent, David Hemmings, and Gary Cooper, is unabashedly striking—think long, fully canvased jackets, broad lapels, structured shoulders, and wide-leg, high-waisted trousers. These wares are made in small workshops in Italy and Portugal, where craftspeople infuse them with high-end details such as hand-sewn buttonholes and silk bar tacks, a form of stitching that reinforces seams and pockets.

Thom Sweeney L.A. store Brett Wood

They’re the kind of touches any menswear enthusiast can appreciate—even if they’re the trees to Gabard’s style forest. Clothes like this are designed as a form of wearable self-assurance, enhancing what Gabard calls a “classically masculine” silhouette: broad shoulders, slim waist, narrow hips.

“Of course, tailoring has to fit well, but it also has to bring something else,” he says. “More and more [Husbands] customers want to be confident, powerful, and sexy in their outfit.”

When you want to look more suave than soigné, turn to the indie Milanese brand Massimo Alba, which is known for its chic casualwear but made its name with easygoing tailoring. “A great suit is not just about the way it fits but about the way it makes you feel,” says the eponymous label’s founder of his relaxed approach. “For me, the essence lies in balance, between structure and softness, elegance and ease. In my opinion, a suit should adapt to the wearer, not the other way around.”

Alba’s creations are cut from plush materials such as corduroy and flannel, featuring natural shoulders and only the lightest of canvasing in the chest, which results in a less-formal look. Which is not to say they aren’t workhorses: Daniel Craig wore one of Alba’s Sloop suits to dodge bullets in 2021’s James Bond film No Time to Die. “I always focus on fabrics that move with the body, details that whisper rather than shout, and cuts that allow for freedom,” Alba adds.

And freedom is precisely what this newfound inventory of great ready-to-wear tailoring provides. Modoo advises some clients to look to bespoke tailors for investment-level garments, such as morning suits, tuxedos, or the dark, serious stuff you might need for a funeral or odd courtroom appearance. “You know you’re going to wear these for 10 or 15 years,” he says. Let the new class of distinctive ready-to-wear step in when you want to try something that just wouldn’t make sense as a bespoke order. “Your pink-velvet blazer for the Christmas party? How well does that need to fit?”

London bespoke tailor Caroline Andrew is one of many who admits ready-to-wear has its place. Courtesy of Caroline Andrew

Fortunately, with so many options available, the fit is easier to dial in. You can expect most high-end operations to make a long list of changes, from ensuring that the seat of the trousers drapes appropriately to cutting working buttonholes on the jacket. For a peerless experience, you can always reach for garments from one of the many talented bespoke tailors offering ready-to-wear. At Thom Sweeney, such clothes are “all influenced by our bespoke cut,” says Thom Whiddett, who cofounded the brand with Luke Sweeney in 2007. “You try on [our ready-to-wear] jacket, and you immediately get a sense of the proportions and shapes that we put into a bespoke garment.”

That alluring sense of near-instant gratification is the point. For some, nothing will ever replace the distinguished feeling of slipping into a bench-made suit—and plenty are willing to wait for it.

“You have to mentally buy into the process and enjoy it,” says Caroline Andrew, a London bespoke specialist. “The journey is just as important as the finished product.” But ready-to-wear sets the time-strapped tailoring enthusiast down a different path: discovering new facets of your personal style at a record pace.

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Tom Brady Wears a Jacob & Co. Watch Decked in Yellow Sapphires to the Super Bowl

The $740,000 Caviar Tourbillon was an opulent choice for the former NFL star.

By 17/02/2025

Tom Brady was on the field tonight at the 59th annual Super Bowl game, and while the retired NFL hero—a seven-time Super Bowl winner (the most of any footballer in history)—wasn’t playing, he came dressed to impress with a $116,400 Jacob & Co. watch on his wrist.

Brady, who is a notable watch collector, recently sold off several of his timepieces at a Sotheby’s auction called “The GOAT Collection: Watches and Treasures from Tom Brady” this past December. Those timepieces ran the gamut from a Rolex Daytona Ref. 6241 to a unique Audemars Piguet Royal Oak with his name spelled out in diamonds across the salmon-colored tapisserie dial. His Rolex Daytona sold for over $1.5 million, and, in total, his auction raked in around $7 million. So, he’s well-equipped for a new watch purchase.

Whether or not he owns the six-figure sapphire stunner or it was a paid spot, the watch certainly stood out against his conservative but immaculately fit gray suit. “Tom Brady is the epitome of excellence, both on and off the field,” said Benjamin Arabov, CEO of Jacob & Co, in a press release sent out by the company shortly after Brady’s appearance. “We’re thrilled to see him wearing two of our most prestigious timepieces on the biggest stage in sports. The Billionaire Mini Ashoka and Caviar Tourbillon embody the precision, luxury, and innovation that define Jacob & Co. We’re honored to have him represent the artistry and craftsmanship behind every piece we create.”

Like much of Brady’s wrist candy, his 44 by 15.8 mm Caviar Tourbillon is not easy to come by. It is limited to just 18 pieces. It features hours, minutes, and a one-minute flying tourbillon in the JCAA43 movement with 216 components and 72 hours of power reserve. The movement itself is set with 338 brilliant-cut diamonds, while a total of 337 yellow sapphires adorn the case and dial. The clasp is decorated with another 18 baguette-cut yellow sapphires, and the crown comes with 14 baguette-cut yellow sapphires and one rose-cut yellow sapphire. As far as gem setting goes, this is one extraordinary piece, but it certainly seemed like a surprising choice for Brady, who was otherwise dressed like he just stepped out of a boardroom or a Ralph Lauren catalog.

Benjamin Arabov, son of Jacob & Co. founder Jacob Arabov, is now the CEO of the company. The 32-year-old recently took to Instagram to post that he was looking for a rebranding agency with experience in visual identity and packaging. As far as marketing goes, however, with Tom Brady, he’s golden.

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This Vintage Rolex Day-Date Has an Ultra-Rare and Coveted ‘Bark’ Design

The ultra-cool piece from Wind Vintage also comes in pristine condition with a desirable patina.

By Paige Reddinger 17/02/2025

Over the last four years there has been a resurgence in interest for 18-karat yellow gold watches. Much of that is due to fatigue over the long-running craze for steel tool watches, but it is also in part due to the rising value of gold (which shows no sign of slowing), rendering these once undesirable pieces increasingly worth collecting. Add to that the fact that, in some niche and stylish circles, unusual bracelet treatments, gem-setting, and interesting dials are becoming increasingly appealing and you have a new wave of watch collecting emerging. Steel sports watches are still the bread and butter for most dealers, but as pockets of interest in more unusual timekeepers, often from younger and fashion-forward collectors, continue to rise we’re seeing some really fun pieces pop up on the market. Case in point: This 1980s Rolex Day-Date in 18-karat yellow gold with a sapphire and diamond dial from Wind Vintage currently available exclusively on The Vault.

It wasn’t that long ago that dealers had a hard time unloading an all-gold gem-set piece. Eric Wind, the notable dealer and founder of Wind Vintage, says five years ago he would have sold this piece for around $23,000 to $28,000. The asking price today? $45,000. “It is very rare,” he tells Robb Report. “I think that was all clearly hand-done. Funnily enough, bark watches were not very desirable in the past. You know, even five to 10 years ago, they were very, very hard to sell. But, over the last three to five years, there’s been such an emergence and interest in jewellery and watches and work like that engraving and other kind of artistic forms that the watches took.” The style of engraving he is referring to on this watch can be seen on the bezel and middle links of the bracelet that is referred to as “bark” for its rough tree-like appearance.

“Bark” engraving on the bezel and bracelet of the Wind Vintage 1980s Rolex Day-Date
Courtesy of Wind Vintage

And while the bracelet is certainly a notable feature that will stand out in a sea of Submariners and Daytonas, the dial is also worth bragging about. Its diamond minutes track and sapphire hour markers are executed in what is known as a “string dial” because it looks like a string of pearls. “They’ve become very popular,” says Wind. “They were very expensive back in the 80s, just because of the cost of the stones, and there are just not many that exist on the planet.” Likewise, Wind says the canary yellow matte dial is not something he comes across often, having only seen a couple of others.

An up-close look at the patina and “bark” engraving on this 1980s Day-Date from Wind Vintage.
Courtesy of Wind Vintage

Part of what makes this watch so hard to find on the market is that pieces like this often didn’t survive past their ’80s heyday. “A lot of times these watches were so undesirable that dealers would replace the bezel inserts and put on fluted inserts, or smooth bezels or fluted bezels and melt down the bracelets or polish the center link so they looked like a standard Day-Date. Those dealers should have learned that what goes around, always comes around. Now with these interesting Rolex watches on the rise, they’ll become even harder to find.

A Wind Vintage 1980s Day-Date with “bark” engraving and a gem-set “string dial”
Courtesy of Wind Vintage

If you’re interested in the piece and want to speak to Wind about it IRL, he will be at Robb Report’s House of Robb event in San Francsico today during the NBA All-Star weekend.

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Soccer Star Kylian Mbappé Is Now an Investor in Watch Marketplace Wristcheck

Just like Jay-Z.
Published on February 7, 2025

By Abby Montanez 11/02/2025

Kylian Mbappé just went from brand ambassador to investor.

The celebrated French footballer, who currently plays for Real Madrid, has taken a stake in luxury watch trading platform Wristcheck, Hypebeast reported lat week.

Off the filed, the 26-year-old soccer star is a known timepiece collector and has served as an ambassador for Swiss marque Hublot since 2018. With this new partnership, the forward joins a growing group of influential backers, including Jay-Z. The rapper and business mogul took an equity stake in the Hong Kong-based company last summer as part of a recent funding round of $7.9 million.

“I’m thrilled to join Wristcheck as an investor through Coalition Capital,” Mbappé said in a press statement. “As a Hublot ambassador and someone passionate about watches and innovation, I see Wristcheck as a platform that truly understands the next generation of collectors. They’re reshaping the watch industry with a forward-thinking approach that blends technology, transparency, and creativity.” Mbappé did not immediately respond to Robb Report‘s request for comment on his new business endeavor.

Kylian Mbappé is an investor in online watch shop Wristcheck.
Tnani Badreddine/DeFodi Images via Getty Images

Launched in 2020 by renowned horophile and Instagram personality Austen Chu, Wristcheck offers a platform for collectors to buy and sell pre-owned watches that have been authenticated by Swiss-trained watchmakers. Since it was founded, the company has raised more than $21.6 million in funding from investors including the Alibaba Entrepreneurs Fund, Gobi Partners GBA, and K3 Ventures.

Mbappé, meanwhile, has achieved remarkable success in his soccer career. He won the 2018 FIFA World Cup with France, becoming the youngest player to score in a final since Pelé. At PSG, he has secured multiple Ligue 1 titles and domestic cups. Individually, Mbappé has earned the Ligue 1 Player of the Year award and regularly features in top European scoring charts. And in 2020, he was ranked the world’s highest-paid player, surpassing rivals Cristiano Ronaldo and Lionel Messi.

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Sotheby’s Will Put on the Largest Auction of Breguet Watches in Decades This Fall

To celebrate the revered watchmaking house’s 250th anniversary, the sale includes rare collectibles belonging to living Breguet family members.

By Paige Reddinger 11/02/2025

Interest in Breguet has experienced a quiet resurgence among savvy collectors who appreciate the brand’s deep-rooted watchmaking heritage. This growing enthusiasm will soon take center stage with an upcoming auction that shines a significant spotlight on the storied Maison.

Founded in Paris 250 years ago, Abraham-Louis Breguet was one of the most influential watchmakers in history, best known for inventing the tourbillon and the automatic winding system—along with many other groundbreaking innovations. His legacy continues to inspire modern masters such as F.P. Journe and Philippe Dufour. You can see Breguet’s influence pointedly in pieces like F.P. Journe’s famous Chronomètre à Résonance timepiece, voted one of Robb Report‘s 50 Greatest Watches of All Time.

Now, Sotheby’s has announced “the largest sale of Breguet timepieces in three decades.” Though the auction won’t take place until November, the auction house is already working to build anticipation. In the meantime, it might be wise to brush up on the most coveted Breguet references.

Breguet 1827 Perpétuelle à Tact watch made for King George IV Breguet

What may pique collectors’ interest is the sale is being curated in conjunction with Breguet and Emmanuel Breguet, the vice president and head of patrimony, who happens to be a descendant of the original Monsieur Breguet. So far, the only timekeeper publicly associated (at least visually) with the auction is the 1827 Perpétuelle à Tact watch made for King George IV. Still, it hints at the historic level of pocket watches, wristwatches, and clocks that will be on offer. Abraham-Louis Breguet was a frequent supplier of high-end and state-of-the-art timepieces for royalty, including Marie Antoinette, Napoleon Bonaparte, and King George III.

Other highlights include an open-faced montre à tact (a watch that replicates the internal hour hand on the cover of the pocket watch via an arrow so that time could be read via touch) with a calendar and moonphase indications that was the inspiration for the Ref. 3330. A pendulette with alarm, perpetual calendar and repeater, and a two-color gold open-faced tourbillon watch is said to be a part of the sale, although no images were provided as of press time. More info on what will be in the sale will come this spring.

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