Patek Philippe Calatrava 1509

In 1946, Europe was rebuilding itself brick by brick. Cities were scarred, industries strained, and yet in Geneva, watchmakers were still at their benches shaping gold into something measured, deliberate, and lasting. This Reference 1509 was born into that moment.

Less than ten years of production, from 1941 to 1950. This example dates to 1946 and carries the earlier Patek Philippe & Co. signature on the dial, placing it firmly in that first chapter of post-war output. It is what many collectors consider the quintessential 1940s Patek, and once it’s on the wrist, the reasoning becomes obvious.

At 35mm, this was a jumbo case for its era. In the mid-1940s, most men were wearing watches in the low 30s. Thirty-five millimeters in yellow gold would have felt modern, maybe even a little daring. Today, it wears with that sweet spot balance: presence without bulk, proportion without exaggeration. It feels purposeful.

The two-piece case was made by Wenger, confirmed by the Geneva Key 1 hallmark inside the caseback. The case lines remain strong, the hallmarks clear, and the profile crisp. But it’s the lugs that steal the show. Those teardrops curve downward and give the otherwise simple round case real personality. A plain case would have been safe. This has far more character. We joke that we tear up every time we see these lugs, and honestly, it’s not far from the truth.

The dial was produced by Stern Frères and executed in engraved enamel. It has aged beautifully. The alternating Arabic numerals and applied dot indices create a steady visual cadence across the surface, while the outer minute track in a slightly different silver tone catches the light and adds depth to the layout. The sub-seconds above six anchors the composition and keeps everything grounded. Nothing is crowded. Nothing feels decorative for the sake of it. It is balanced, thoughtful, and distinctly 1940s.

Inside is the manually wound Calibre 12-120, finished with the level of care you expect from Patek in this era. Turning the crown feels tactile and direct. It reminds you that time here is mechanical, not digital. There’s a certain satisfaction in that daily interaction.

Total production of yellow gold examples is estimated at around 40 pieces. Think about that for a moment. Through the final years of World War II and the uncertain years that followed, only a small handful of these left Geneva. This one survived the war, the decades after, and now arrives in remarkably preserved condition.

On the wrist, it says you understand proportion. It says you appreciate history without needing to advertise it. It says that even in turbulent times, beauty still had a place at the bench.

And seventy-plus years later, it still does.