Rolex Saru is one of the most impressive collection of Rolex, really luxury and hard to find. But what is Rolex SARU and where its name comes from? It is a combination of two amazing gems SApphire and RUby.
The Rolex GMT SARU is one of the most hard to find Rolex models of all time. Presented in the mid-1980s, , gold GMT hand, President bracelet with diamond-set middle links. Very few were produced and they are quite well hidden among collectors as few has surface the market.
ROLEX SARU GMT-Master II 116758
Presented in 2006, this amazing top luxury, unique watch that I had the privilege to have it in my hands, its unique yellow gold case combined with a top sapphire and ruby bezel and a diamond-set case, available both with a black or champagne diamond pave dial. A watch that no words can described it, with a Cal 3186 in 40mm.
ROLEX GMT IISARU 116578
ROLEX SARU GMT-Master II 116759
Presented in 2007, this amazing Rolex with its white gold case, diamond-set case, sapphire and ruby, SARU bezel was available both with a black or pave diamond dial. It comes with an amazing Oyster bracelt and a Calibre 3186 automatic.
ROLEX GMT II SARU 116579
ROLEX SARU GMT-Master II 126755
Presented in early 2020, rose gold case, diamond-set case, SARU bezel – available both with a black or pave diamond dial, with a 3186 Calibre and an Oyster Bracelet
ROLEX GMT II SARU 126755
Want to learn more about Rolex History? Check out our article that describes how everything started.
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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
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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