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ROLEX

ROLEX SUBMARINER REFERENCES

ROLEX SUBMARINER

ROLEX SUBMARINER REFERENCES  in a glimpse

The idea of creating an article regarding ROLEX SUBMARINER REFERENCES came when I was trying to understand the changes that this amazing model went through over its decades of production. It was really hard for me to understand back then all  this details through all this long articles therefore I created a short and comprehensive little note keeping all the important milestones of the evolution of Submariners that would help me understand and identify Rolex Submariners changes over the years.

One of my most loved watches that can be your best  friend and a true partner in crime in life. Born to exceed life and be adventurous, be with you in everyday life but also to posh events.  A true best friend lets say…

ROLEX SUBMARINER REFERENCES
ROLEX SUBMARINER REFERENCES

ROLEX SUBMARINER REFERENCES

Important Milestones of Rolex Submariner

  • 6204:  First Submariner without crown guards and 37mm case.
  • 6205:  Early Submariner without crown guards and 37mm case.
  • 6200:  Early Submariner without crown guards and  a ’ 3-6-9 “Explorer dial”.
  • 6536:  Early Submariner with bigger crown and 38mm case.
  • 6536/1:  Early Submariner with a small crown – James Bond.
  • 6538:  Early Submariner presented with both the 3-6-9 dial and a 38mm case.
  • A/6538:  6538 the military watch made for Special Boat Squadron in 21 copies not launched in public, highly collective.
  • 5508:  Early Submariner with no crown guards and 37mm case.
  • 5510:  Early Submariner with a 38mm case no crown guards.
  • 5512:  A new case with crown guards and 40mm, COSC-certified written text on the dial.
  • 5513:  Same as 5512 but without the COSC-certified text on the dial.
  • 5517 or 5513/17:  Made for the British military known for its sword-hands. 
  • 5514:  The same as 5513, extra feature gas escape valve for Comex divers.
  • 1680:  First Submariner with Date. Submariner text written in red and white.
  • 16803: Two-Tone Submariner. Blue and black dial and bezel.
  • 16808: Yellow Gold Submariner.
  • 16800:  Dial with white gold index.
  • 168000: The new version of 16800.
  • 16610: Updated Submariner from 1680. A Rehaut (Rehaut is an inner ring or flange that surrounds the dial, typically located just inside the crystal or the outer circumference of the dial) and with a regular Case .
  • 16613: Two-Tone Submariner with blue and black dial and bezel. Rehaut and a regular Case. 
  • 16618: Yellow gold Submariner. Rehaut and a regular Case.
  • 14060: Updated. No date Submariner.
  • 14060M: Updated. Rehaut and a regular Case.
  • 16610LV: 50s years Anniversary Edition. Green bezel.
  • 116610LN: Ceramic bezel. New case. 
  • 116610LV: Green Ceramic bezel. New case. 
  • 116613: Two-Tone Ceramic. Black and Blue dial and bezel. 
  • 116618LB: Yellow Gold Submariner. Black and Blue dial and bezel.
  • 116619LB: White Gold Submariner. Black and Blue dial and bezel.

Want to learn more about Rolex History? Check out our article that describes how everything started.

Feel free to contact and share your thoughts with us your feedback is important as we are trying to create a unique interactive community for all the watch fanatics.

 

Author

  • Julien Favre

    Vallée de Joux, Switzerland — Contributing Editor, high complications & independent watchmaking
    Julien Favre learned the difference between good silence and bad silence before he was ten. Good silence was his grandfather at the bench in Le Sentier, loupe screwed into one eye, breathing shallow over a disassembled minute repeater. Bad silence was the moment a hairspring pinged off the peg-wood and disappeared into the floorboards. The family atelier — three generations of movement servicing for the maisons that carpet the Vallée de Joux — was never framed as a legacy Julien was expected to join. It simply was the house, the way weather is the house in a mountain valley.
    He resisted it, predictably. He studied economics in Lausanne and spent two years in Geneva watch retail, selling the objects rather than opening them. What pulled him back was not sentiment but frustration: he found he could describe why a movement was beautiful far better than anyone selling it could, because he had seen its underside. He started writing — first a blog dissecting finishing under macro photography, then commissioned work for the trade press, then features that treated escapements the way music critics treat a fugue.
    Julien now covers high complications, restoration, and the fragile economics of independent watchmaking for European and English-language titles. His reporting is unusually technical without being cold; he is as interested in the person hunched over the bench as in the tolerances they hold. He is skeptical of hype, allergic to press-release adjectives, and reliably the first to notice when a "revolutionary" caliber is a reworked ébauche.
    He still returns to the family workshop each winter to service a single pocket watch on his grandfather's bench — a discipline, he says, that keeps his writing honest. A critic who cannot do the thing risks worshipping it.
    Byline version: Julien Favre is a contributing editor covering high complications and independent watchmaking. He grew up in a movement-servicing atelier in the Vallée de Joux and still works the family bench each winter

    Author
Author

Vallée de Joux, Switzerland — Contributing Editor, high complications & independent watchmaking Julien Favre learned the difference between good silence and bad silence before he was ten. Good silence was his grandfather at the bench in Le Sentier, loupe screwed into one eye, breathing shallow over a disassembled minute repeater. Bad silence was the moment a hairspring pinged off the peg-wood and disappeared into the floorboards. The family atelier — three generations of movement servicing for the maisons that carpet the Vallée de Joux — was never framed as a legacy Julien was expected to join. It simply was the house, the way weather is the house in a mountain valley. He resisted it, predictably. He studied economics in Lausanne and spent two years in Geneva watch retail, selling the objects rather than opening them. What pulled him back was not sentiment but frustration: he found he could describe why a movement was beautiful far better than anyone selling it could, because he had seen its underside. He started writing — first a blog dissecting finishing under macro photography, then commissioned work for the trade press, then features that treated escapements the way music critics treat a fugue. Julien now covers high complications, restoration, and the fragile economics of independent watchmaking for European and English-language titles. His reporting is unusually technical without being cold; he is as interested in the person hunched over the bench as in the tolerances they hold. He is skeptical of hype, allergic to press-release adjectives, and reliably the first to notice when a "revolutionary" caliber is a reworked ébauche. He still returns to the family workshop each winter to service a single pocket watch on his grandfather's bench — a discipline, he says, that keeps his writing honest. A critic who cannot do the thing risks worshipping it. Byline version: Julien Favre is a contributing editor covering high complications and independent watchmaking. He grew up in a movement-servicing atelier in the Vallée de Joux and still works the family bench each winter

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