Replica Rolex Automatic, Copy Rolex Automatic Watch

Rolex Datejust 16233 White Roman (16233 White Roman)

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

Review by Joanna G, From France Nerac

Rolex Datejust Black Dial Automatic 18kt Yellow Gold President Ladies Watch 178248BKSP

My son gave these as gifts to his groomsmen for his wedding, everyone loved them and felt that they were incredibly generous gifts. The best man did note that the bands were a little on the large side, but easily fixed at the jewelers counter.

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

Review by Evie d, From United States Meridian

Rolex Datejust Champagne Concentric Circle Dial Automatic 18kt Yellow Gold President Ladies Watch 178248CCAP

Great Rolexwatch and fantastic craftsmanship. Thank you very much for STP offering such a great watch for excellent price.

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

Review by Tadzhik Joseph, From USA Potomac/md

Former Arsenal striker and England international Ian Wright was the guest of honour on the Jeanrichard stand at SalonQP for the launch of the brand's new limited-edition Arsenal Terrascope chronograph in carbon fibre.

He may not have been the most obvious choice to line-up alongside the brand's CEO Bruno Grande, since he is not a member of the Arsenal squad and thus has no direct ties with the brand. In fact, his relationship with Jeanrichard came about more by chance.

"We were contacted by Ian Wright because he wanted to see the watches," explained Bruno Grande. "We don't have a direct association with him (we couldn't afford it), so he's a genuine friend of the brand and we have plenty more celebrities gravitating around the brand thanks to Arsenal." 

After patiently posing for photographs with visitors to SalonQP, Ian Wright corroborated this story for WorldTempus. "A business colleague of mine told me about Bruno and what he was doing. I hear about this kind of thing all the time but when I finally sat down with him and listened to him speaking about the watches I could tell that he was as passionate about the watches as I am about football. The way he talked about the watches and the history dating back to 1681 was fascinating. And it came at a time when I was getting back into watches so I was in the market and I wasn't sure what to get. I like the fact that it's classy and understated, and because I wear it on my right hand, everybody notices it."

The reason the former Arsenal forward was "in the market" was a particularly harrowing aggravated burglary at his home over the summer, during which his wife was held at knifepoint while his children were upstairs. Wright himself was in Brazil commentating on the World Cup for UK television and had to fly home to comfort his family. Apart from the emotional stress of the event, one of the physical losses he suffered was the theft of his entire watch collection, which included connoisseur models from the likes of Patek Philippe and Rolex. The unfortunate event has also led to a change in this collector's philosophy about watches.

"It's almost like starting again," he said. "I'm most probably going to end up with a few Jeanrichard watches and I will probably buy the one they just launched. But what I will do now is buy watches to wear rather than collect. I still have a 1969 Paul Newman Rolex (the thieves didn't get that one because it was being repaired at Rolex) and I'm going to start wearing it."

The new limited-edition model is the first chronograph in the Jeanrichard Terrascope line and comes with a new case in single-ply carbon, which has a uni-directional finish similar to brushing, even though the case undergoes no separate finishing after it is machined. It comes with the signature Jeanrichard "rubbergator" strap (rubber that is stamped to resemble alligator leather) with red stitching and, of course, the cannon of the Gunners as the small seconds counter. This strictly limited edition, of which only 50 will be produced, comes complete with a certificate of authenticity signed by three players from the current Arsenal squad, as well as - unusually - a 30cm diameter Jeanrichard wall clock.

But why does Ian Wright prefer Jeanrichard in particular, when as a football pundit travelling around the world to cover the major soccer events he gets to experience the marketing activities of various watch brands, as well as compare tastes with his peers?
"Footballers went through a phase of wearing massive watches," he explains, "which I call the silly phase. But what you see now is that they are going more for the elegant pieces, which is what I have always thought was synonymous with watches."

On 11 May 2013, Sotheby's Geneva first Saturday auction of Important Watches will present worldwide collectors with a rich selection of over 400 horological creations. Covering two centuries of watch history, the sale has been curated to include some of the finest timepieces from the 19th century through the present day. The impressive group of vintage and modern wristwatches is led by renowned manufacturers, such as Rolex and Patek Philippe, as well as timeless legendary models, such as the IWC Ingenieur and Audemars Piguet's Royal Oak, which have been constantly reinvented over the past several decades.
 

Highlights of the sale include a very fine example of the reference 5029 by Patek Philippe from 1997 (est. CHF 350,000-450,000/ $371,000-477,000), the No.10 Royal Oak Chronograph Leo Messi sold to benefit the Leo Messi Foundation, as well as an entire section dedicated to rare vintage examples and limited editions of the Ingenieur watch, tracing almost 50 years of its history. The group of vintage wristwatches is also highlighted by illustrious provenance, with two Patek Philippe timepieces that belonged to Georges Simenon (1903-1989) - the masterly Belgian novelist whose Inspector Maigret Mysteries made him one of the most widely published authors of the 20th century. The total sale is expected to achieve in excess of CHF 6.5 million. 

We watch lovers know that when we buy a mechanical watch, we must take care of it almost the same way we would care for a well-oiled automobile. I know from personal experience that trusty auto mechanics are, however, in short supply. They take one look at me and - noting my gender - try to convince me that my car is in need of much more service than it really is. When I find a mechanic who I feel treats me fairly, services my car correctly and charges me fair rates, I stick with that mechanic basically for life.
Mechanical watches are no different. They need periodic servicing - though much less than a car. They need loving hands to treat them well, and they require further investments by their owners. I know that when I need a watch serviced, I prefer my favorite local watchmaker with whom I have a longstanding relationship over sending the watch to a foreign country via an anonymous chain store. I support my local independent watchmaker and I am certainly not alone. Mom-and-pop watchmakers with skills to run a decent business and take care of fine watches are in serious short supply. When you find one, you hang on to them with all your might.
About ten years ago, my favorite local watchmaker told me that he could no longer service new Rolex models and some other big-name brands because they won't sell spare parts and the special tools required to install them to independent watchmaker-repairers. So, if you buy these brands, you should know in advance that they can only be serviced by the companies in question and their direct affiliates - at which point control over what is happening inside your watch is lost. In fact, a high-level collector just told me last week that when you send in a new Rolex for servicing, that company will change any number of parts out without even asking - including the dial. These days I guess it is a known quotient, and something you inherently agree to when you buy a watch from that brand.
A group of Australian watchmakers is currently becoming vocal over the issue, which seems to be becoming standard fare among group-owned luxury brands. An organization called Save the Time has sparked a rally for supply of manufacturer's parts to independent watchmaker-repairers.
 

The problem
Using another off-industry analogy let me show you the problem in a different way. My first laptop was a Macintosh G4, which served me well - except for the batteries, which only had enough juice for two hours of use. No Mac battery can last the length of a transatlantic airplane ride, which is why I always traveled with at least three so I could work on airplanes. One time, I accidentally left one of my batteries in the airplane seat pocket, so I decided to contact Apple to see if I could order a new one to my hotel in time for the 13-hour plane ride home. I was informed by the salesperson that (four years after original purchase, mind you) Apple no longer made batteries for this model and I would be best served checking eBay. That exchange stopped me in my tracks and I no longer subscribe to the Macintosh philosophy. Now a solid PC user, I am aware in advance that the € 500 I invest in my computer (as opposed to triple that for a Mac) will likely only last me about three years. However, the salespeople tell you this in advance and it is a known fact.
What is not a known fact is that one can spend € 10,000 and way more for a luxury watch of the finest quality and be expected five years later to plunk down another almost € 2,000 for repairs and servicing. This is the other issue the Australian watchmakers are fighting to make public.
Australia saves the time
No watchmaker becomes a watchmaker for any other reason than that he or she simply loves watches. It is the passion for the craft that carried him or her on through endless pedagogic sessions and thousands of manual hours of training. The reward at the end is the exciting moment when life begins to beat within a piece of metal that we call the balance spring, the heart of a mechanical watch.
 

When a watchmaker becomes an independent watchmaker-repairer, he or she usually does that for the love of the craft, and it is in his or her interest to serve customers well. It is not a high-paying job and relationships with clients and other passionate individuals in the field are among the biggest rewards. Mark Pleszczynski of Murwillumbah, Australia, is just such a watchmaker. Pleszczynski, who also plays a large role in the Watch & Clockmakers of Australia association, an unpaid not-for-profit organization, can no longer source spare parts for watches made by many of the group brands. He told me that this has resulted in income loss of $1,000 and more for him per week. He also explained that when these watches are sent to the manufacturer for servicing or repair, it will cost the consumer triple the amount he would have charged. This is not the main reason that Pleszczynski has joined the Save the Time movement: the main reason is that he feels that the restriction is eliminating the consumer choice of going to an established and trusted repairer.
This is different than the reason that Nick Hacko began the Save the Time movement, though it is related. "There is one small problem with the monopoly," he says. "It only works great for monopolists. Once it kills competition (independent watchmakers), monopolists start to raise repair prices way above marginal costs and lower customer service. Monopoly leaves you without a second option, a second opinion, a second quote and robs you of ability to inquire and ask questions."
Additionally, something happened in March that made him really go through the roof. He sent a very fine watch to the Australian headquarters of a major concern for crystal replacement. He had no choice but to send it there since they would not supply him with the replacement crystal. He therefore also had no choice but to have that watch repaired under that concern's terms and for the amount of money it found fit to charge. "And there is nothing wrong with that," Hacko said. "Except for one detail: while I was 'happy' to pay $195 for a new glass, I was less than happy to pay an additional $790 for a complete overhaul. And, quite frankly, I was blue in the face when I found that this watch needed a 'balance' for an extra $520 and a 'complete barrel' for another $270." The total (mandatory) repair cost for what was originally a replaced crystal came to $1,775.
Hacko maintains (and actually sent me photographic evidence) that the watch ran at minus 5 seconds per day and that the balance showed 278 degrees of amplitude. "This indicates to me that the watch does not need a new balance wheel."
 

It became obvious to Hacko that the repair quote was based on an assumption that the watch needs a new balance and barrel. "As any car mechanic can confirm, you cannot make a quote without looking under the bonnet," he justifiably said. "After the watch was returned, I took a photo of the case, which clearly shows that the serviceman did not even bother to take the watch out of the case and inspect the mechanism. Or he did an amazing job of 're-applying' the dirt to the case."
Hacko explained to me that proper repair procedure requires that all movement parts are disassembled, cleaned, then put back together. Only then can a repairman assess overall condition, wear and tear, and finally proceed with component replacement. "By quoting the replacement of the balance (which is the most expensive component), the concern in question has covered its back in case the watch really needed some or any parts. I find this completely unethical."
Hacko then took the watch apart to find out for himself what was really transpiring under the hood. After the overhaul, he was able to adjust the daily rate to close to zero seconds per day deviation. "Of course, I am not going to pretend that this watch kept absolutely perfect time in each and every position. The truth is no mechanical watch can keep absolutely perfect time in every position tested. But the healthy amplitude of 283 degrees told me that I don't need a new balance staff, balance wheel or complete balance assembly for $520!"
Hacko has since been instrumental in founding the new Professional Watchmakers of Australia, an association formed with intention to represent all independent Australian watchmakers demanding access to spare parts and fulfils the unpaid function of secretary and spokesperson.
Currently, Save the Time is looking to take this matter to the ACCC (Australian Competition & Consumer Commission), but they need 10,000 petition signatures to be able to do so. By visiting the website save-the-time.org, you can sign the petition, find out where local watchmakers are located and get a list of local suppliers. You can also read more about why the watchmakers find this so important.
If it can happen in Australia, it can happen anywhere. The subject is also currently being investigated by European Union antitrust regulators thanks to the European Confederation of Watch and Clock Repairers Associations.
 

Juan Martín Del Potro had an easier time bringing home the gold at this tournament than perhaps others. It was obvious he felt right at home on the red clay of the Lisbon suburb's courts: disposing of France's Richard Gasquet (number 18 in the ATP rankings) in the finals and Switzerland's Stanislas Wawrinka (number 21) in the semifinals, the gentle giant put his Rolex Milgauss on his wrist directly after shaking his opponents' hands at every match.

Furthermore, Salomão Kolinski of the retail chain Boutique dos Relógios was on hand to present the winners with timepieces from Omega for the third year running. As Del Potro's Rolex ambassadorship prevented him from wearing other timepieces, he gifted his Seasmaster to the best Portuguese player, João Sousa, who lost to Spain's Albert Ramos in the quarterfinals in a valiant battle.
 

The ladies' champion, Estonia's Kaia Kanepi - currently number 26 in the world - received a ladies' Constellation.

In less than fifty years the combination of high quality creations (made in Switzerland) and the Latin spirit of the brand won over the Americas. Various fine watch brands (Rolex, Patek Philippe, Longines) associated their names with Cuervo y Sobrinos (a more prestigious name at that time) to co-produce watches based on Havana time - a legacy of "bygone time". The boutique quickly became so successful that in the 1890s Cuervo y Sobrinos decided to expand its production network, opening branches in three crucial European cities.
While most European luxury product creators expanded their international business to other continents, Cuervo y Sobrinos was one of the first overseas brands to take the opposite path, successfully working on the Continent: in Pforzheim, Germany, where La Casa selected its precious stones; in Rue Mezlay in Paris, where its finest jewels were made, and later, in La Chaux-de-Fonds, Switzerland, where its timepieces were created.
For its select clientele, a visit to La Casa in the heart of Havana was a must on every trip, just like visits to the great jewelers on Place Vendôme in Paris or Fifth Avenue in New York. In the 1940s, the heyday of the brand, prized Cuervo y Sobrinos products weren't simply premium watches but reflected a lifestyle and a way of thinking. After having its name among top watch brands for more than fifty years, the company's business slumped after the political uprisings in the country. The Cuervo family left Cuba for Europe and for nearly forty years the brand lay dormant.
 

WORLDTEMPUS - 24 October 2011

It was hard to imagine the watch industry before George Daniels, and it will be hard to imagine this place now that he has left it: Daniels was nothing if not an iridescent figure, often setting the tone of good horological taste behind the scenes.
This might be hard for newcomers to imagine today since Daniels only created a total of 37 watches - pocket watches, no less - in addition to a series of 50 wristwatches completed together with protege Roger Smith called Millennium as well as the beginning of the collaborative venture with him introduced last year. As avid followers of horological history will know, the Omega base caliber powering the 50 Millennium timepieces held special meaning. Daniels was, of course, the inventor of the co-axial escapement that is now utilized in every single Omega wristwatch.
 

A true expert
Though Daniels began his professional life after serving his country in World War II with the proverbial 50 quid in his pocket - just enough to buy his first set of tools, as the story goes - his drive, ambition and enormous talent made him a very wealthy man. Some of his fortune was acquired by buying and selling precious vintage pieces and selling 35 of his own unique pocket watches, but most of it came from selling what was to become his most famous invention to the Swatch Group.
No two of Daniels' creations were ever completely alike. The next watch was always undertaken because Daniels had another idea to try out, another escapement to experiment with or desired other functions. He invented the co-axial escapement in 1975, but did not patent his perfected design until 1980. After a long search that involved talks with both Patek Philippe and Rolex over the course of a decade and a half, Daniels eventually sold the design to Omega, who needed almost another decade to bring it to serial fruition. Though the patent has now run out, no other watch brands use the co-axial aside from Omega and Smith, who has adapted it for use in his own masterfully crafted timepieces, which also contain other traditional elements of English watchmaking.
 

Personal memories
When I entered the watch industry, I had no idea who Daniels was. I soon read his opus "Watchmaking" (which was recently republished by Watchprint) in order to learn the basics. However, it was only after becoming friends with various independent watchmakers - predominately members of the AHCI - that I began to understand his place in our industry. One year at Basel, one of them even stood in line at the Omega booth in order to get his own copy of "Watchmaking" signed by the master - and couldn't stop beaming at the chance to meet his idol. Tellingly, François-Paul Journe also worshipped Daniels, even going so far as to present him with one of his own watches last year. For my own part, I found myself fairly well in awe in the presence of Dr. Daniels (he was presented with an honorary title later in life). His technical and industry insights and knowledge were eternally enlightening.
 

George Daniels passed away at his estate on the Isle of Man following complications arising from hip replacement surgery at the age of 85. A funeral is expected to be held on the Isle of Man in about two weeks' time. Fans of Daniels will be pleased to know that a biography written by Michael Clerizo with the current working title "George Daniels: A Master Watchmaker and His Work" is due to be published next fall.
George Daniels, A Master Watchmaker & His Art
FRENCH VERSION (216 Pages • 240 ill. • Format : 29.5 x 29.5 cm. Price : CHF 160.00 • € 140.00).
ENGLISH VERSION (216 Pages • 240 ill. • Format : 29.5 x 29.5 cm. Price : CHF 105.00 • € 93.00).
 

Limited edition of only 2,000 copies. Attached are the updated estimates of all Rolex Milgauss, Explorer I, Explorer II, Turn-O-Graph and Yacht-Master watches. Together with "Rolex Submariner Story", it is the world's biggest book on Rolex watches.

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Harry Winston's Opus has become more than a collection of outstanding timepieces. This blend of watchmaking dreams come true tells a story of determination that has turned into a cultural phenomenon, recreated annually by talented people who know how to derive synergy from an equal commitment to art and technology. For the past 10 years, Harry Winston has called on the originality and skills of independent watchmakers to realize its concept of superior watchmaking. For Harry Winston, watches reflect a passionate belief that you can - and must - go beyond the imaginable. Today, the House of Harry Winston is proud to present its 11th Opus, a watch that shatters watchmaking notions to bring you the disintegration of time itself.

An extremely complex case stages the show. The three overlapping cylinders on three levels are configured to deconstruct time. The main circle is the hour's domain, flanked by two pavilions. One shows the minutes on a jumping disk for the tens and a running disk for the units. The other, slightly lower, displays the regular beat of a big titanium balance-wheel.
Anarchy takes hold of the hours indication beneath the sapphire-crystal dome every 60 minutes. The numeral of the hour, assembled in the center of the circle, explodes into chaos before instantly reassembling as the new hour. It then remains still until the next disintegration. Instead of a hand, 24 placards revolve and rotate on a complicated system of gears mounted on an epicycloidal gear-train. Four satellites mounted on a rotating platform, each with three pairs of placards, provide a vertical transmission through a train of eight intermediate wheels, three elliptical gears, a triangular wheel and six conical pinions. The bevel gears are responsible for changing the axis of rotation of the placards and positioning them according to an elaborate drill maneuver. The triangular wheel and elliptic gears are calculated to vary the gear ratio to absorb shocks and prevent the placards colliding.
The tooth profiles of the triangular and elliptical gearing have been obtained using sophisticated programs. These are today so powerful that they can calculate and display unconventional, and even extreme, gearing and analyze different parameters such as backlash. Parts are manufactured using photolithography, which produces micro-components to a precision unobtainable by traditional machining methods.
The conical pinions for the bevel gears are just 1.2mm wide, yet their teeth are exactly profiled and angled, thanks to a new gear-cutting technique.
The path taken by the placards has been calculated to minimize the space required for them to turn over. However, the shell of sapphire crystal, also extremely difficult to manufacture, gives ample room for the hourly animation.

The transparent display back of the gold case reveals a manually wound movement in the style of the old pocket-watch movements with a big balance-wheel. Consisting of 566 components, including 155 jewels, the mechanism is finished in the most traditional manner of classic watchmaking, in sharp contrast to the crazy display of the hour. One version of the watch is gem-set in the contemporary style: a simple line of princess-cut diamonds lights up the contour of the caseband.
The appointment has been fixed. The hour comes apart at its end, leaving its particles to explode outwards and be turned into new hours ad infinitum. Such complexity and ingenuity make Opus Eleven an important milestone in Harry Winston's exploration of time.
Limited edition of 111 watches.

DENIS GIGUET

Denis Giguet trained as an engineer and started making a name for himself in fine watchmaking. The experience he gained with such firms as Rolex and Harry Winston developed into a visionary approach far in advance of the watchmaking industry. Familiar with the design and construction of highly complicated watches, he worked as production manager at Harry Winston. In 2007 he launched his own brand, MCT, and designed the Sequential One, a far-reaching development in creative engineering for which he involved the crafts of more than 20 experts in their fields. His creative energy has given birth to Opus Eleven, a timepiece where his own vision of time is perfectly expressed by the Harry Winston personality.

MUSIC
Ben Frost (Australia) chosen by mentor Brian Eno (United Kingdom)

Australian composer, producer and musician Ben Frost, 30, is recognized for his music that is at once compelling, mystifying, disturbing and beautiful. In 2005, after receiving a degree in fine arts in Melbourne, Frost relocated across the world to Reykjavik, Iceland, where he co-founded the Bedroom Community record label.
His genre-defying work, influenced as much by Classical Minimalism as by Punk Rock and Metal, includes three emotionally powerful and critically acclaimed albums: Steel Wound (2003), Theory of Machines (2007) and By the Throat (2009). Frost's multidisciplinary collaborations linked him with renowned choreographers Gideon Obarzanek, Erna Ómarsdottír and Wayne McGregor, and with artists as diverse as Amiina, Tim Hecker, Nico Muhly and Björk. He is currently composing the score for the forthcoming massive multiplayer online game, World of Darkness, and working on several commissions for film and dance, including a reworking of Tarkovsky's Solaris and music for the new Random Dance production, Flesh in the Age of Reason.

"In my works I celebrate being South African. I look at my ethnic identity, gender identity and colonial heritage," says 34-year-old visual artist Nicholas Hlobo. Since graduating with a degree in Fine Art from the then Technikon Witwatersrand in Johannesburg, in 2002, Hlobo has demonstrated the singularity of his artistic vision at group and solo shows from Cape Town to Rome and Boston. "The ideas he explores are as deliberate and dense as the stitches he uses to unite his signature materials - rubber, gauze and paper," observes Kerryn Greenberg, assistant curator at London's Tate Modern where, in 2008, Hlobo exhibited four works, entitled Uhambo, at the Level 2 Gallery for emerging international artists.
The distinctive use of evocative materials is a hallmark of Hlobo's sculptural installations and performances, which are rooted in his native Xhosa culture and language. Among his most recent successes, he won the prestigious 2009 Standard Bank Young Artist Award for Visual Arts.

A naturally gifted dancer and fledgling choreographer, Lee Serle, 28, is a much sought after performer in his native Australia. Since receiving a bachelor of dance degree from Melbourne's prestigious Victorian College of the Arts in 2003, he has contributed to the work of several, mainly Melbourne-based, companies, notably Lucy Guerin Inc and Chunky Move, with which he has performed both nationally and internationally.
His choreographic credits include A Little Murky, a small-scale piece that experiments with subtle characterization and showcases his powerful and theatrical style, and I'm in Love, for the Next Wave Festival in Melbourne. Serle relishes the Rolex mentorship as a "oncein- a-lifetime opportunity" of extending himself under the tutelage of such a "seminal influence" as Trisha Brown. "The chance of becoming a dance artist in New York is a personal goal," adds Serle, whom Brown describes as a dancer of "tremendous promise", ready to expand his horizons internationally.

Annemarie Jacir, 36, a visionary, Palestinian film director and poet living in Jordan, was named one of Filmmaker magazine's 25 New Faces of Independent Cinema in 2004, a year after graduating with a Master's in Fine Arts from New York's Columbia University.
Co-founder of the Dreams of a Nation project, dedicated to promoting Palestinian cinema, Jacir deftly incorporates a nuanced analysis of cultural and political issues in her films, including like twenty impossibles (2003), an Official Selection of the Cannes Cinefondation. Her widely acclaimed debut feature, Salt of this Sea (2008), the first feature film by a female Palestinian director, premiered at Cannes and was an Academy Award submission for Best Foreign Language Film. It also won the FIPRESCI International Critics' Prize. Currently working on a new feature, Jacir cites Zhang Yimou's Raise the Red Lantern as a source of inspiration. "Films that I find the most inspiring are about the human spirit," she says.

For over a decade, Lebanese actor, writer and aspiring director Maya Zbib has been impressing critics with her subtle portrayals in widely diverse roles. The multi-genre work of the 29-year-old bridges theatre and performance by marrying the two practices through a variety of techniques.
Having acquired a Master's in Performance Making in 2007 from Goldsmiths, University of London, Zbib has created and performed in solo work, including The Music Box, a performance-installation staged in people's houses and showcased at international festivals. She currently comanages Beirut's Zoukak Theatre Company and Cultural Association, which she co-founded in 2006, and also teaches at Lebanese University's Institute of Fine Arts. In 2009, she was invited to participate in the British Council's Cultural Leadership International programme. Dedicated to theatremaking that has an impact on society, Zbib says: "I am very inspired by Mr Sellars' advocacy of theatre as a force for change."

The Rolex Mentor and Protege Arts Initiative
The Rolex Mentor and Protege Arts Initiative is an international philanthropic programme devised by Rolex and run by a team at the company's headquarters in Geneva. It seeks out highly talented young artists from around the world and brings them together with great masters for a year of creative collaboration in a one-to-one mentoring relationship.
History and objectives
The Rolex Mentor and Protege Arts Initiative was launched in June 2002. It runs biennially and is now beginning its fifth cycle (2010-2011). Its objective is to help perpetuate the world's artistic heritage. In keeping with its tradition of supporting individual excellence, Rolex is giving emerging artists time to learn, create and grow.
Programme format
Rolex invites masters in dance, film, literature, music, theatre and the visual arts to provide individual guidance to gifted young artists. In six disciplines, a senior artist (the mentor) agrees to foster and counsel a young artist (the protege) for one year. Each pair decides the most effective way of interacting.
Selection of mentors
Every two years, a new Advisory Board of distinguished artists and arts practitioners suggests and endorses potential mentors. Once the mentors have been approached and have agreed to take part, Rolex works with them to establish a profile of the protege they would like to work with.
Selection of proteges
Then, six Nominating Panels - one panel per discipline - are assembled. The panels are made up of experts qualified to identify suitable potential proteges. To ensure that the process is impartial, panel members remain anonymous during the selection period. Artists do not apply directly to the programme. Each Nominating Panel recommends potential proteges, who are then invited by Rolex to submit applications. The Nominating Panel studies all the applications and recommends three finalists. The entire process has an invaluable spin-off, as it allows the panellists to become aware of about 20 talented young people in their field. Rolex then arranges for the mentor to meet the finalists and choose his or her protege.
Year of mentoring
Mentors and proteges spend a minimum of six weeks together, though many spend considerably more time sharing knowledge and experience. The place and time of these interactions are arranged by mutual agreement. The form of the interaction is flexible, ranging from a protege being granted access to a master at work, to mentor and protege actually collaborating on a work. During the year, Rolex keeps in contact with the mentors and proteges to provide logistical support as required.

Protege grant
Each protege receives a grant of US$25,000 during the mentoring year, in addition to money to cover travel and other major expenses. Proteges are also eligible to receive a further $25,000 after the year is over. This is offered specifically towards the creation of a new piece of work, a publication, a performance or public event.
Documentation
To help give exposure to both the proteges and the programme, Rolex documents the year of mentoring in a publication and a film. A website - rolexmentorprotege.com - also describes the programme.
Outcome
After the mentoring year is over, Rolex continues to keep in touch with the proteges, following their careers with interest. The outcome for proteges varies: a new novel, a new stage production, a dancing career with the mentor's company and a collaborative artwork with the mentor are all examples of proteges' achievements through the programme. However, Rolex is aware that the full benefits of the programme for many of the young artists may continue far into the future.

Global creative community
Since the launch, in 2002, of the Rolex Mentor and Protege Arts Initiative, 256 artists, arts leaders and other cultural luminaries have participated in the programme. This includes 67 advisors who have helped select mentors and 147 nominators who have identified potential proteges. Programme participants contribute from across the globe, building a Rolex community of artists spanning more than 40 countries that grows in depth and scope with each mentoring year.

WORLDTEMPUS - 22 June 2010

A world's first—this was the remark from Rolex's management when Danish Rolex retailer, Klarlund, invited a few select journalists from Scandinavia, Germany, and Switzerland to salute the "King of Le Mans," Tom Kristensen.
Danish driver Kristensen has no less than eight Le Mans victories listed on his automotive resume, which is two more than legendary driver Jacky Ickx, who ended his career with six Le Mans wins.

Kristensen's position as a natural choice to enter the exclusive club of Rolex testimonials moved Klarlund to stage the intimate gathering celebrating his new official position as ambassador.
Rolex has never before made an official announcement when "knighting" an ambassador, which is the reason for the remark from the Rolex management. Klarlund was only able to convince Rolex to celebrate this occasion in the presence of the press thanks to the retailer's long-standing relationship with the Genevan watch brand.

"Not only are we proud of Tom Kristensen's victories, we are also very proud hosts of such a rare and special occasion," Klarlund managing director Stig Andersen told Worldtempus after presenting the new ambassador with a Rolex Daytona Everose, one of Rolex's gifts to its new sporting face. The other Rolex that Kristensen will receive is a Milgauss outfitted with a green sapphire crystal. These watches not only suit the "King of Le Mans," they are also timepieces fit for an icon of our time.