Cartier Hand Wind Vintage Watches, Copy Cartier Hand Wind Watch

Cartier Clé 18K White Gold Set with Diamonds Dial Ladies Watch WJCL0017

Cartier Clé 18K White Gold Set with Diamonds Dial Ladies WJCL0017 was as described,nicely wrapped speedy delivery Thanks

---- [Rating: 5 / 5 stars]

Review by Teresa Marlam, From Mciver Los Angeles

Cartier Pasha XL Brown Dial 18kt Pink Gold Brown Leather Men's Watch W3030001

fast shipping, great price

---- [Rating: 5 / 5 stars]

Review by Lori Crase, From USA Rochester

Cartier Delices Brushed Pink Gold Dial Ladies Watch WG800020

I liked this Cartier watch but it was too small for my size 8 wrist, it was too tight and i did not like the fit. If the band had been larger and wider i might have kept it but too small and looked small on.

---- [Rating: 5 / 5 stars]

Review by marion crumpton, From Germany Kaarst

Worldtempus: Do you feel at home as a woman in a man's world?
Carole Forestier: There are a lot of women in the watch industry, in the workshops where you need patience and you need to be able to work on a very small scale. But it's true that at the purely technical level, there are not many women.

How did you get involved in the watch industry?
I didn't get involved in it, I was born into a family of watchmakers. My father, my mother and my brother were all watchmakers. I'm not Swiss, I was born in Paris but my parents had a restoration workshop and I lived in the family workshop. Little by little I started dismantling movements. My brother was more interested in making them work, but I wanted to take them apart to see how they worked - much to my father's despair!

Once I had understood how they worked, I wasn't very keen on putting them back together again. After disassembling movements up to the level of minute repeaters and reading a few books, I acquired a passion for watchmaking without really noticing.
As a teenager I remember that my friends were big fans of the great singers of the time, such as Michael Jackson, but I was a fan of the great watchmakers, so I would queue at the Champs-Elysees for the Belles Montres show to get the autograph of Daniel Roth, for example.

So your dream became a reality?
I asked my father if I could go to a watchmaking school and he told me that if I wanted to do that then I had to go to Switzerland. So I ended up in La Chaux-de-Fonds at the age of 16 and I did my watchmaking diploma at the school there. I never really returned to Paris because there aren't any watchmaking factories there, so I started my career in La Chaux-de-Fonds and I've been there ever since.

Is it purely by coincidence then that you work for Cartier, a French brand?
Yes, at the time Cartier was looking for someone to work on movement development. But for someone working on the technical side of things it was not necessarily the first brand that would spring to mind. Cartier was known for its jewellery and they chased me for two years. Once I understood their ambitions I realised it was a great opportunity. Starting from a blank sheet of paper and managing to create all this for such a big brand is something you don't do twice in your life.

Is there such a thing as a typical day's work for you?
We have a big team, with 35 people working on movement development, most of them engineers. There are sub-teams with specialists in different areas, such as our base movement 1904 or high-end movements and the Poinçon de Geneve movements, where you need to take into account the criteria right from the start. So I work with all these teams and my favourite time is when I do development reviews and we see the virtual movement on the screen and can go into details.

There is a great attention to detail in the design of your movements and watches, for example in the revolutionary configuration of your perpetual calendar. Is this a reflection of your involvement?
The beauty of working at Cartier is that product briefs are not written from a marketing standpoint. They are born from a common reflection between designers and movement developers. We always try to ask ourselves what we can improve. Taking the example of the Astrocalendaire, we asked ourselves what was problematic with current perpetual calendars. There was the risk of damaging the movement and the confusion for the customer with all the corrector pushers. So in the development brief we said we would try to find new solutions to improve this and come up with something new and useful.

How do you determine when innovations seen in your ID unique pieces can be used in the Cartier watch collection?
This is the process of industrialisation and it's one of the longest processes. The ID models use totally new materials and technologies. Sometimes when we experiment with them we end up at a dead end, so we have to go back and start again. It's something that is difficult to plan. It's not a classic product development.

But you have some deadlines, like the SIHH, that you cannot miss…
Yes, of course. There is marketing and then there is reality. At a certain point we have to take the marketing strategy into account, but the marketing team is intelligent enough to know that the ideal scenario is not always possible and we have to find a compromise. But it is the technology that leads the way, that is the reality.

Do you have a favourite area among all the different spheres of your work?
What I enjoy and what I think we are good at is that, because we are quite new in watchmaking at Cartier, we can look at things with a fresh approach. This is what makes us different from others today. You have to see this as an advantage. We can look at things people have been doing for centuries and ask ourselves whether there is a better way of doing it.

Is it important for you to come to the SIAR in Mexico?
It's extremely important. It gives me an overview of what's going on in the industry. When you are stuck in the factory every day, it's important to get out and about. The customer's viewpoint is often different to those of us working in the industry and it's important to see how our watches are received. When the first link in the chain meets the last, the customer, it's a magical moment - for them as well as us.

As of mid-April, the catalogues of the international auction houses with branches in Geneva started being delivered to the community of collectors. After a first study of the watches on offer it became evident that it was going to be a good season, good in many senses.

Firstly, it was a well-varied selection with an unusually high number of new discoveries - meaning watches which have not yet been seen or offered on the market before. Secondly, it was overall a high-quality assembly of collector's pieces, mostly in above average and original condition. Lastly, I cannot recall having seen so many watches which were capable of making it into the so-called "Top Ten" - lists which auction houses publish after their auctions. Traditionally, these "Top-Ten" lists were dominated by one or two extremely prominent names - this season we can count nearly ten different names. I consider this proof of how varied the market is with a nearly unlimited number of different tastes and collecting areas. Let's not forget to mention that between the most antique watches selling for a record sum and the youngest are precisely 200 years!

Generally, one can divide the market into three principal segments: Antique pocket watches - ranging from the end of the renaissance to the late 19th century; vintage pocket and wristwatches, dating from the early 20th century to approximately 1980 and contemporary wristwatches, made after the1980s. This spring season all these categories enjoyed b bidding and record results.

Going backwards on the timescale, the stars of the youngest segment were names like A. Lange & Söhne, fetching at Christie's an amazing CHF 437,000 for a unique white gold Tourbillon "Pour le Merite", nearly tripling its presale estimate of CHF 150,000 which was, back in 1998, about its official retail price. This watch is a wonderful example of how esthetically appealing, technically superior and very limited edition watches continue to appreciate in value. Also popular were creations like the jeweled "Reine de Naples" at Sotheby's, selling for CHF 161,000, four times its conservative presale estimate. This watch also showed that female watch aficionados are joining our market, a domain long held exclusively by gentlemen collectors. More cutting-edge designs, for example the limited edition RM006 Tourbillon by Richard Mille, also attracted healthy interest, selling for CHF 177,500, more than double its presale estimate.

In the section of antique watches and historical masterpieces of fine watchmaking, two pieces stood out: On one hand, the lovely musical automaton snuff box with enamel decoration by Piguet & Capt, selling to a private collector for CHF 749,000, and the historical "Comte Potocki" Breguet 1-minute Tourbillon - understood to be the first ever made - for CHF 821,000. Who said that "old is outdated"?

In terms of number of lots and value, vintage wristwatches and pocket watches dominated this spring season. Besides the two all-time stars - Patek Philippe and Rolex, still the only two on the "Top-Ten" list with selling prices above 1 million Swiss francs - there is an exceptional array of distinguished brands chasing this magic barrier.

Personally, I have particularly fond memories of the two extraordinarily elegant dress watches by Vacheron Constantin, sold at Sotheby's, selling for CHF 305,000 and 173,000 respectively. Whereas the first was a very early world-time dress watch in an elegant two-tone gold case from 1933, the second was an unbelievably smart triple-calendar watch with moon-phases and power-reserve indication. I congratulate the new owner(s?) having had the vision to write a cheque for them equal to 10 times their respective pre-sale estimates and believe that he did very cleverly. I cannot recall having seen anything comparable on the market in ages and don't think, despite the b results, that he (or she?) overpaid. Not to forget a new auction record achieved for a Panerai wristwatch, originally owned by the celebrated Admiral Birindelli, selling for CHF 425,000.

Personally I was very pleased to see vintage Cartier watches and timepieces enjoy ever growing popularity. Standing out here were the lovely Tortue Chronographe Monopoussoir from 1929 at Christie's, selling for CHF 100,000, a well deserved result some two and a half times above the presale estimate and the diamond-set Art Deco ring watch at Sotheby's, selling for CHF 149,000, nearly five times the appealing pre-sale estimate.

The last words are dedicated to the main protagonists - Patek Philippe and Rolex. They did certainly not disappoint their most loyal followers thanks to a rich offering. The highlights were in my view the unique Cushion-Shaped Minute Repeater by Patek Philippe, a special order by the firm's most prominent patron. This watch was bought by a private collector for CHF 1,205,000, whereas the probably unique Rolex Oyster with cloisonne enamel dial fetched a record result of CHF 1,097,000, just some CHF 10,000 below the all time world record for any Rolex wristwatch ever sold at auction!

What do all these protagonists have in common? They share as a common denominator the word "quality". Be it the quality of design, technical ingeniousness, original condition or rarity.