207 The PENNANT 2006 Summer Vol. XXIV, No.2

Transcription

T
Palmer
Perfection
PENNANT
The
A P U B L I C AT I O N O F T H E P E N C O L L E C T O R S O F A M E R I C A , I N C .
SUMMER 2006
$9.95
Sheaffers in the ’40s
Post-War Auroras
A Connoisseur of Connaiseurs
Edward Todd Demystified
Parker History
pennant
Inside The
Summer 2006 Vol. XXIV No. 2
Features
4 History of the Parker Pen Co. Part II The Early Years In Fayette, Iowa,
by Len Provisor and Geoffrey S. Parker
10 Pens for Kids, Eastshore Elementary School, Irvine, California by Richard Kaufman
13 From Farm Boy To Nation’s Scribe: A Palmer Method Retrospective by Kate Gladstone
17 The Mystery of Edward Todd by David Moak
10
21 Ink Color Trivia: Glorious! Green by Rhonda J. Foster
22 The Sheaffer Connaisseur 1985-1996 by Dennis Bowden
28 Aurora after WWII by Giovanni Abrate
32 Taxonomy Late 1940s Sheaffer Models: 1947 by Jim Mamoulides
Departments
36 Cryptopenology IV: Myths Of A Lifetime by Daniel Kirchheimer
40 Tech Notes: The Cantor Lectures by Victor Chen
44 The Bookworm: A Book Review by Tom Rehkopf
51 From the Stacks by Dan Reppert
46 2007 Board of Directors Nominees
17
In Brief
2 From the Editor
3 Snippets 
40
42 Coming In The Next Issue Of The Pennant
P.C.A. resources
3
50 50 51 52 52 52 53 53 54 55 56 56 56 P.C.A. Pen Available
From the President
PayPal Now Available for P.C.A. Membership
Local Clubs
Upcoming Shows
P.C.A. Supporters
Back Issues
P.C.A. Membership
Corporate Sponsors
28
Contributors
Pen Repair Directory
P.C.A. Contributor Guidelines
Board of Directors
Marketplace
22
pennant
From the Editor
The
Spread the word
What brings new people to this hobby? For me, it began
with a box of old pens that belonged to my grandfather. I kept
them in a large tin box loaded with old ballpoints and mark-
Publishers
Pen Collectors of America
P.O. Box 447
Fort Madison, IA 52627-0447
Phone: 319.372.3730 • Fax: 319.372.0882
Email: [email protected]
Web: www.pencollectors.com
ers. The prize was a beat up but still functioning gray marble
Esterbrook fountain pen.
It was the filling mechanism that fascinated me most. The pen was easy to take apart and
The Board of Directors
Craig Bozorth Dan Reppert
President Vice President
Victor Chen
Recording Secretary
Craig Bozorth Victor Chen
L. Michael Fultz Joel Hamilton
AnnMarie Hautaniemi
Bert Heiserman Len Provisor
Dan Reppert
the simple lever filling system introduced me to how fountain pens work. I was captured by the
Board members
effortless way it laid words on the page, much easier than the ballpoint pens I usually used.
I’ve always been a scribbler, filling in the margins in my school notebooks. Writing with that
pen sparked an interest in calligraphy and I dabbled at it from high school and into college. I
eventually purchased a Pelikan 120 and a Rapidograph set and experimented with my mother’s
Speedball dip pen set. It was calligraphy that led me to fountain pen collecting.
In this issue we continue with the histories we started in the Spring issue, visit with some more
young inductees to the world of fountain pens, remember one of the writing methods that introduced many of us older writers to pen and ink, investigate an old pen mystery, and go in-depth on
a recently retired modern pen with a vintage flair, all with a dash of color here and there.
Administrative
Roger Wooten Dan Reppert
Treasurer Librarian
Jim Mamoulides Rita Cangialosi
Pennant Editor P.C.A. Webmaster
Fran Conn Terry Mawhorter
Art Director Advertising Manager
Tom Rehkopf and Dede Rehkopf
Associate Editors
Melinda Adams Sam Fiorella Michelle Reed
Copy Editing Staff
Pennant Review Board
Giovanni Abrate George Kovalenko
Andy Lambrou Ernesto Soler
Jim Mamoulides
Membership
While you are reading this issue, I’d like to point out the hard work of the all-volunteer team
U.S., one year, $40; three years, $105
Outside U.S., one year, $60; three years, $150
that brings it to you. All the writers and photographers contributed from their love of the hobby,
and The Pennant you are holding would not be the quality maga-
PENNANT
The
A P U B L I C AT I O N O F T H E P E N C O L L E C T O R S O F A M E R I C A , I N C .
zine it is without Tom and Dede Rehkopf as well as Fran Conn,
our magazine’s graphic designer and layout artist. Many thanks
to them for their incredible hard work.
Cheers,
Jim Mamoulides
2
SUMMER 2006
$9.95
Sheaffers in the ’40s
Post-War Auroras
A Connoisseur of Connaiseurs
Edward Todd Demystified
Parker History
Advertising
Deadline: October 1, 2006
Inside front cover (full-color) $1,100
Inside back cover (full-color) $1,000
Back cover (full-color) $2,000
Last page (full-color) $800
Full page (full-color) $700
Full page (black & white) $300
Flyer insert $300 Half page $150
Quarter page $100.
P.C.A. Repair Directory listing (3 issues) $75
Business card $50
Classified ads (per word) $.50
On the Covers
Front cover: Sheaffer Sentinel Deluxe pen and pencil
set c1947. Photo courtesy of Jim Mamoulides.
Back cover: Palmer Method ephemera. Images courtesy
of Sam Fiorella.
summer 2006
The pennant
snippets…
P.C.A. Financials
The first year will be different. Each P.C.A. member will vote for three
Those interested in the P.C.A. financial report will find it on the P.C.A.
people in the 3-year group, three people in the 2-year group and three peo-
website: www.pencollectors.com
ple in the 1-year group for a total of nine board members. Those with the
highest number of total votes in each group will serve on the next Board.
The candidates…
Y
Two-year term:
Dan Carmel
Joel Hamilton
Bill Hong
Chuck Stoops
One-year term:
Dennis Bowden
AnnMarie Hautaniemi
Dan Reppertv
Three-year term:
Melinda Adams
The P.C.A. is entering a new era.
Linda Bauer
First, our organization status has changed. We are now a 501 (c) 3
Steve Corn
educational entity, which means that all gifts and bequeaths to us are
Stuart Hawkinson
tax deductible. It means if the Sheaffer Pen Company, or Parker, or
Bruce Mindrup
Waterman or Pelikan, or Sailor wishes to donate 5,000 pens per year
Rick Propas
for the Pens for Kids program they will be allowed a tax deduction for
the value of the pens.
Three directors will be elected from each of the categories, so you
Second, we have a new policy for electing Board of Director
should vote for three candidates in each of the one, two and three year
members. In the past, all nine members have been elected each two
categories. Candidate bios begin on pager 46. Ballots (included with this
years for a two year term. We are now going to a staggered term
issue) should be returned in the envelope provided by October 15, 2006.
of election. All members will be elected for a term of three years.
Any ballots received after that date will not be counted. Winners will be
However, three will be elected each year. This will hopefully allow
announced at the annual P.C.A. members meeting at the Ohio Pen Show,
for more continuity of program with fewer board members leaving
announced on the P.C.A. website www.pencollectors.com and printed in
each year.
the Winter issue of The Pennant.
P.C.A. Pens
Now Available from
Jim’s Fountain Pen Site
Limited supplies of the
Limited Edition Pen
are available and may be ordered directly from
www.jimgaston.com or email: [email protected]
Jim Gaston
wish to thank Jim Gaston for handling
Jim’s Fountain Pen Site
the sales and marketing of this very spe-
www.jimgaston.com • email: [email protected]
The pennant
summer 2006
The Board of Directors of the P.C.A.
cial pen on their behalf.
3
History of the
Parker
Part II
The Early Years
In Fayette, Iowa
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pennant
To understand the strengths
George S. Parker was the seventh of eight children, and his mother, Jane, taught
him to maintain a dedication to the principles of the family’s faith. She had founded the local
and personality of George
Congregational Church when they lived in Shullsburg, Wisconsin, so their religious principles
were an important part of the family character. Both she and George’s father, Norman, educated
S. Parker, it will be helpful
to examine his family and
formative years, which took
place during the pioneer
the children and taught at their local school and church in Fayette, Iowa. Norman was a staunch
church supporter and one of the organizers of his church.
In 1871 George Parker’s family arrived in Smithfield Township, about 8 miles south of the
city of Fayette. They may have stayed with the Folsom or Doughty families for a few months
through the first winter and then bought their own land in 1872. Their 160 acre farm was in
the SW quarter section 33, Smithfield Township. Norman bought the land from an earlier
pioneer, Mr. E. Glasgow. The land contained a log cabin, made from logs on the lower half and
upright boards on the upper half, and was set upon 10 acres of small, broken field gardens. The
Parker family initially lived in this cabin.
settlement period in Iowa.
The rest of the land would have been native tall wet-grass prairie with some shrubs, willows and small trees along the small waterways on the farm. This area of the county was almost
One can trace the roots of
entirely wide open prairie with rolling hills and deep groves of hardwood forests and happened
to be located next to Norman’s married sister, Harriet Doughty.
his character back to his
In the spring of 1872, Norman established his nursery business, providing fruit, nut and
decorative trees to the surrounding communities. George grew up as a farm boy, working with
upbringing by his parents
and his early education, from
country school to Upper Iowa
University in Fayette, which
prepared him to meet the future
his siblings to help his father with daily chores. There would have been no major barn structures during at least the first years and only a few small open log shelters for any cattle or hogs,
and perhaps a small, enclosed log building used as a barn for oxen, cows and chickens.
Young George walked about one mile to the one-room country school No. 3 in nearby
Seaton. His teacher in the winter of 1872 was Sophia Z. Smith. Children of various ages and
grades attended this small one-room school, which used split log benches for seating. The students’ basic education would have included basic reading, writing, arithmetic and spelling lessons, with students using wood framed slate tablets for their work. At that time the school year
was divided into two terms, three and one-half months in winter, and three months in the summer. George apparently attended school only during the winter months. Girls and boys usually
attended the Seaton School until age 12, or until they were advanced enough to attend the local
challenges he would face.
high school in Fayette.
Pen Co.
It was George’s mother who first suggested that he may not have been cut out for farm
by
work. With that thought in mind, he gave consideration to studying medicine, since, as a
Len Provisor and
younger member of the family, he had been the designated first aid person for injuries that
Geoffrey S. Parker
occurred on the family farm. At some point, however, George realized that he might be better
off following his natural mechanical instincts, and he thought perhaps the railroad might offer
Opposite: George S. Parker, 1890.
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him better opportunities.
5
In 1873 the railroad came to Fayette, and a few years later George was attending the local high school, located only a few blocks from
the train depot in the middle of town. It is not difficult to imagine the excitement that the railroad brought to the young boy.
After graduating from high school in Fayette, he continued his education by attending Upper Iowa University in 1882, when
he was 19 years old. The university had been built in 1857 in Fayette as a Methodist school. The one university building housed
classrooms, administrative offices and the president’s quarters, along with student rooms on the upper floor.
George, however, did not complete his studies at the university, stating that “I attended school for some time, but I am sorry to
say that I did not graduate," feeling that the classes were not preparing him for any particular career.
While attending Upper Iowa University, George had to work for his room and board. He may have worked at the Davenport
& St. Paul Railway depot, which was only a few blocks south of the school. One can well imagine the influence this would have
had upon young George, talking to engineers and conductors, and observing the telegrapher operating the amazing machine that
talked over the wires. It would have been his first experience learning about life on the railroad.
Many years later, George Parker stated that he believed that it was the articles he had read in The Youth’s Companion that
instilled his interest in and curiosity about travel. Articles about modern scientific inventions, stories of adventure in the American
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Opposite page: Top, panoramic view
of Fayette, Iowa, 1871; bottom, Fayette
train depot, north view, 1885.
This page: Top to bottom, Train depot,
Fayette, Iowa, 1878; Fayette, Iowa,
1878; Fayette Main St., July, 4, 1910;
Winter train crossing, circa 1878.
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West and the latest exciting U.S. and international news all served to
between George and his parents over finding a future career in Janesville
describe the opportunities beyond Fayette. America was barely 100
or Fayette, Iowa. His parents finally gave their blessings, and George
years old, and it was easy for George to see that the greatest potential
agreed to write upon his arrival in Janesville and stay in touch with the
for adventure and business opportunity lay to the West with the newly
family.
expanding railroads.
While still on the farm, George soon set his mind to go to
Janesville. The advertising in The Youth’s Companion that attracted
So finally, in 1882, in order to go west, George Parker traveled east to
Janesville. It would mark a turning point in his life.
Next Issue: Young George's early years in Janesville.
✍
his attention was from the Valentine School of Telegraphy in
Janesville, encouraging readers to “Learn telegraphy and work on the
All rights reserved by the authors.
railroad, go out West and
get big wages.” He promptly
sent a letter to the Valentine
brothers, who operated the
school, requesting their
free catalog. One of the
Valentine brothers wrote
back and sent literature
describing the wonderful
life of a telegrapher and
how telegraphy was a stepping stone to bigger and
better things. Tuition was
$55 for the course, plus
room and board.
No doubt there must have
been some lively discussions
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Acknowledgements:
Parker Family Archives, Geoffrey S.
Parker
Wisconsin Historical Society,
Madison, Wisconsin
Hedberg Public Library, Janesville,
Wisconsin
Rock County Historical Society,
Janesville, Wisconsin
The Janesville Gazette, Janesville,
Wisconsin
Barry Zbornik, Fayette, Iowa historian
Fayette Iowa History Including Fayette
County & Personal Genealogy,
Portrait and Biographical Album of
Fayette County Iowa, Chicago: Lake
City Publishing Co., 1891.
1875 Andreas Plat Map, Fayette
County, Iowa.
Photo images of early Fayette, IA
Opposite page: Top, College Hall,
Upper Iowa University, Fayette,
Iowa; bottom, Upper Iowa
University campus, circa 1908.
courtesy of Barry Zbornik
This page: Top to bottom, street
map, Fayette, Iowa, circa 1878;
Fayette, as young George would
have seen it approaching town.
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9
Pens for
Eastshore Elementary School,
Irvine, California
by Richard Kaufman
I was wandering around the Los Angeles Pen Show
when I ran into Sam Fiorella from Pendemonium and thanked
her for her assistance two years ago with the P.C.A. Pens for
Kids program. At the time I was teaching 4th grade, and the students had been thrilled with the experience. Since that time, I
have switched positions and am now an Elementary Science
Specialist, teaching 4th–6th graders. Sam asked if I would be
willing to participate in a Pens For Kids program again, and
I jumped at the chance. She introduced me to Dan Reppert,
who quickly sent me some Sheaffer student pens with an
ample supply of ink. Considering that I have been a member of the P.C.A. for the past ten years, it is a special privilege to be able to make use of the great resources that the
P.C.A. makes available to its members.
I teach at Eastshore Elementary School in Irvine,
California, and my students are aware of my passion for pens. Along
with charts of the elements and pictures of cells and atoms are pictures of some of my favorite
fountain pens. My students would often ask me about different aspects of pens. They were fascinated with the different filling systems, nib designs and the variety of inks.
Questions about nibs helped foster discussions about the properties of different metals. We talked about the malleability of gold and how it holds up so well
against corrosion. The difference between 14- and 18-karat gold ended up being a
topic of great interest.
Ballpoint pens were what students were used to, so we investigated the differences between those and fountain pens. We used our microscopes on low magnification to examine the differences in ink delivery systems. We talked about the
rolling ball at the end of a tube versus a nib and feed. In addition, we demonstrated
how an oil based ink behaves differently from a water based one. We learned this
by seeing how each reacted differently to water damage.
In presenting the fountain pens to the class, I focused on scientific principles and
how they relate to a fountain pen. Capillary action, atmospheric pressure and evaporation were among the topics that were related to the fountain pen. In addition, we
did some chromatography experiments that helped demonstrate that ink is made up of
many different dyes. Each student put a dot of ink near the bottom of a strip of chromatography paper. They would touch the bottom of the strip to water and observe how
10
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D
I S
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the water moved past the dot of ink and separated it into different dyes. The lighter the dye, the farther it
would travel up the chromatography paper. After the paper dried out, students were able to observe the
variety of dyes that made up ink colors. For fun, they wrote their names on the chromatography paper
and placed them in the water which made for some pretty colorful designs.
My 6th grade class is made up of 35 students, so I divided the writing session into two classes,
held on successive days. The students were amazed at how smooth their pens wrote, as well as
how effortlessly the pens glided along the paper. The pens were transparent purple with stainless steel caps and they all had medium nibs. Throughout the lesson students kept repeating
“You mean we really can keep them?” which goes to show how thrilled they were.
At the next class session, many of the students discussed with the rest of the class how
their parents shared their own experiences growing up using a fountain pen. More than
one parent thanked me in regarding to how quickly these fountain pens changed their
child’s writing in a positive manner.
After our two class sessions with the fountain pens, we continued with
the rest of our science curriculum, but you could see that these pens had
made quite an impression. From that point on at least 75% of the students used their pens in science class for the rest of the year. They took
a great deal of pride in using them to fill up their lab books and write
up conclusions to experiments that we had completed. Since geology is
the main focus of 6th grade science, these pens got quite a workout in
terms of illustrating different aspects of plate tectonics.
By the end of the school year, I had a lot of students asking
me where they could go to buy more pens. Like their teacher,
they now had contracted the fountain pen bug. I would like to
thank the P.C.A. for sharing its passion with a group of enthusiastic students who I hope will help protect the heritage of
fountain pens for the future. ✍
All rights reserved by the author.
12
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From Farm Boy
The Palmer Method began with a farm boy — and
Born December 22, 1860 on a farm
at Fort Jackson, St. Lawrence County,
made him a millionaire. Palmer advocates claimed the
writing method conferred legibility, speed and even
Palmer Handwriting Washouts:
Failures In The “Golden Age”
Some Palmer survivors remember the
New York, Austin Norman Palmer moral excellence. Palmer had users worldwide, a dedi- Palmer Method fondly—some quite
probably learned as a boy the elaborate cated tech-support staff, fiercely defended intellectual otherwise.
cursive like a hybrid between conventional cursive and Italic. It seems likely
that Palmer intended these for students
property rights, and a money-back guarantee; yet
it knew its failures, and after years of growth
who wanted something plainer, and
perhaps thereby faster, than the standard Palmer Method script.
went into a long slow decline.
by Kate Gladstone
By the time Palmer died on
November 16, 1927, his method
had become by far the predominant
handwriting curriculum in the USA
and remained the most widely-used
USA handwriting method well into
To Nation's Scribe
Palmer, then, strove to meet a need for effi-
the student and by a teacher who had received
the early 1950s. Many people look back on the
ciency, and believed that his writing method
Palmer training and met the company’s stan-
Palmer days as a golden age of universal success
could provide this, at least when properly
dards for proficiency in writing and teaching
in penmanship; however, the Palmer Method
taught. To ensure proper teaching and qual-
Palmer Method handwriting.
did produce its failures.
ity control, he set up a network of corporate
This focus on quality control, and what we
In my fifteen years as a handwriting teacher,
trainers, whom he trained, and who annually
today would call “tech support” for custom-
I have so far met or otherwise heard from at
visited schools that were using the method
ers using the program, probably accounted
least 100 people who reported having had years
in order to evaluate the school’s teaching and
for much of the educational, financial, and
of Palmer Method handwriting with a Palmer-
training of teachers and students. For schools
media success of the Palmer Method during
trained teacher during the Palmer “golden age,”
taking part in this training, the A. N. Palmer
its early-twentieth-century heyday. For a fair
yet who reported and demonstrated that they
Company guaranteed to refund any money
number of students, though not for all, the
had not achieved good handwriting as a result.
that a school administration had spent on
Palmer Method, a Palmer-trained teacher and
Though as far as I know no evidence has yet
any student who remained a poor handwriter
a lot of hard daily work on penmanship did
surfaced that the A.N. Palmer Company ever
despite faithful use of the Method both by
indeed result in competent handwriting.
had to pay its promised refund for failure,
A Palmer Method Retrospective
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13
that does not necessarily point to the unmitigated success of the Palmer
America, and the entirety of humankind that they should live to see the day
Method. Although I do not know whether Palmer reported any failures of
when someone does this and calls it writing! This eye-offending scribbly scum
his Method during his lifetime (he died November 16, 1927, a millionaire
of so-called penmanship that besmirches your paper and fouls the very atmo-
whose obituary made the New York Times), Palmer Method “washouts”
sphere of this classroom ought by rights to be buried in the deepest, darkest
certainly existed during the 1930s and 1940s, and they exist today among
depth of the foulest rubbish cellar where it can never again come to the sight
Palmer survivors.
of decent people!...”
…and on and on, until after minutes that seemed eternities she sneered
Two “Golden Age” Palmer Washouts Whom I Happen To
Know Well.
out the crux of it all:
My father, Ernest Gladstone and his cousin Larry (Goldberg) attended third
the misfortune to teach, to meet, or to hear about ... except for (and here she
grade together in the late 1930s in Brooklyn, New York, then a bastion of
pointed) your cousin Ernie!”
“In fact, Larry Goldberg, you write worse than anyone I have ever had
Palmer Method in all schools from Day One of Grade One. Dad and Larry
To A. N. Palmer’s credit, nowhere in his published work, as far as I can
each entered third grade with two solid years of Palmer Method foul-ups
determine, did he envision or countenance any such unkind and shaming
under their belts (and had each gotten pretty harsh treatment for the same).
treatment of any student. Oddly, though, numerous “Palmer washouts” do
From Day One of Grade One, in every classroom, Ernie had written the worst
report such treatment in childhood from teachers apparently trained in, and
of all and Larry had written the second-worst. The required hand/arm posi-
apparently claiming to follow faithfully, the Palmer Method.
tion of Palmer Method produced, for Ernie and Larry, not good handwriting but cramped and painful hands. But, even more than cramped hands,
Satisfaction Guaranteed, or…
Ernie and Larry came to dread the motivational technique employed by Mrs.
Such behavior by teachers may have reflected mounting frustration with stu-
Murphy of the third grade. For, whenever that devotee of Palmer Method cur-
dents not succeeding as the company had guaranteed. Despite the money-back
sive saw the students’ handwriting, she would first pour out her wrath upon
guarantee, the company rarely, if ever, had to pay off. Reportedly, if a teacher or
the second-worst handwriter in the room:
principal sent the Palmer Company the handwriting of a poor Palmer-trained
“Larry Goldberg, your writing is a thing of disgust! It is an oozing sore
handwriter and asked for the promised refund, the company would simply
of poor penmanship! What sad disgrace to your family, your classmates, this
rule that the student had not actually used the Palmer Method at the time
fine public school, this great city, the state of New York, the United States of
of making his or her mistakes. The rationale? The Palmer Method, like any
14
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The pennant
handwriting method, naturally did not consider the inky blots, wobbly letters,
teaching a print style before cursive, using sometimes print, sometimes cursive
or other handwriting errors. Therefore, by the company’s definition, any stu-
writing, Palmer remained until the mid-1970s cursive-only. As educational
dent making a handwriting error had not actually used the Palmer Method at
theory, then popular culture, came to adopt the notion that children should
the moment of making the error.
learn two handwriting styles (printed and cursive), Palmer did not succeed in
I first heard of the above policy from a source which makes it trust-
countering this new notion, which made it difficult for the company to attract
worthy: a Palmer Company employee who had joined the firm fresh
new customers or retain old customers who had come to believe that they
out of college in the 1960s, and who had remained a company man
needed to teach two styles of handwriting. Palmer, therefore, lost customers
until 1987, when the firm at long last passed into receivership after a
to other firms, and then later aped them by instituting a printing style, but too
long slow decline. He spoke of his Palmer days with pride and highly
late to make a difference to the firm’s image or success.
approved and admired the policy regarding refunds. He considered
2. Reputation of the method as harsh and overly rigid. “Palmer wash-
the policy ethically and intellectually, as well as financially, defensible,
outs” like my father and his cousin, often had bad memories of how their
and he saw nothing wrong with that logic. The man still lives and still
teachers had treated them. Teachers of “washouts” also had, at least at
teaches Palmer privately — does it very well, too, by all reports — so
times, bad memories of how the Palmer Company had responded to such
I don’t want to give his name out, particularly as he uses fountain pens
cases. A hard-working teacher or administrator who asks an educational
and abominates ballpoints and markers. (After all, we pen folk do owe
company to honor its guarantee, only to see the company wiggle out of
some consideration to our own).
it probably does not feel as kindly towards the company after that. The
The Decline and Fall of the Palmer Empire
Although Palmer passed on in 1927, his firm survived him by sixty years.
However, from the 1950s onward it entered a long period of slow decline.
Several reasons account for the decline:
detailed drill and emphasis on uniformity in students’ handwriting also
did not go over well in a society that increasingly emphasized individual
choices and permissiveness.
The A. N. Palmer Company’s fortunes started to decline, and the firm
eventually went into receivership. Macmillan Books bought the company’s
1. Trends in educational theory - The Palmer Company, like other, smaller
assets, and has continued to make existing warehouse stock available in a
handwriting companies of its era, had arisen when educators and most peo-
slowly diminishing trickle as it exhausts its supplies. Macmillan has con-
ple generally believed in using a cursive style for all handwriting instruction.
firmed that it has no plans to print any more Palmer Method materials
When other, smaller firms bowed to popular educational trends that dictated
after it finishes selling the existing stock.
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Continued on page 38
15
?
16
The Myst
summer 2006
The pennant
ery of Edward Todd
When I first began the research
for Mabie in America, one of my
primary goals was to clear up all
the confusion about the formation
of the various Mabie companies,
L
by David Moak
et’s begin by comparing John Mabie’s preparation for a life as an
instrument manufacturer with Edward Todd’s. John Mabie was apprenticed to
Thomas Addison, one of the premier pencil makers of his day, at about the age
of 13. When his apprenticeship ended at the age of 21, he continued as a journeyman for three years. A journeyman is someone who is fully trained, but is
continuing to work under a Master. Mabie then worked for another pencil maker,
John Rauch, and became foreman of his shop.1 By the time Mabie entered into
his first partnership in 1853, he had either trained or worked as a pencil manu-
who the principals were, and the
facturer for over 20 of his 34 years. In the following year he obtained a patent on
timing of their relationships. I was
a pencil and pen-holder that was a standard for the industry.
fortunate to be able to complete
for his brother-in-law in his mercantile business, which was located in Pittsburgh, Pa.
this task. However, one of the joys
He was also an agent for the jewelry manufacturers Churchill & Stanley, which
and frustrations of the researcher is
By contrast, Edward Todd’s start in business was as a peddler. He later worked
was based in Todd’s home state of Connecticut. Todd’s first specific relationship
with a pen manufacturer was his stint as traveling salesman for Bard Bros. &
the discovery that answering one
Co., of New York City.2 We don’t know the exact year he was hired, but Bard
question often leads to many oth-
Bros. & Co. didn’t open in New York until 1848. Assuming Edward Todd was
ers. After establishing that Henry
worked for them only 3 years, because the company failed in 1851.3 At the age
Todd replaced his brother Edward
as partner in Mabie, Todd & Co.
when Edward left to start his own
pen company, I couldn’t help but
wonder how Edward Todd was able
to learn enough about making pencils and pens to establish his reputation as a manufacturer. The main
reason for my confusion is that
there is really very little evidence
that Edward Todd ever personally
made a pencil or pen in his life.
Opposite page: clockwise from top right: Edward
Todd; New York Daily Times public notice of the
formation of H. H. Houghton & Co.; New York Daily
Times public notice for the dissolution of A. G.
Bagley & Co.
Right: A. G. Bagley gold-filled pencil and pen
holder, patented January 1, 1850.
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summer 2006
with the Bards from the beginning of their time in New York City, he could have
when Edward Todd began as a traveling salesman, John Mabie had completed a 7
year apprenticeship and was continuing his work as a journeyman. I think it can
be reasonably assumed that a traveling salesman has little time to learn the highly
skilled task of making nibs (the Bards made only nibs, not pencils).
When Bard Bros. & Co. failed in 1851, two of their employees, William P.
Smith and Edward Todd, bought out the company and formed Smith & Todd.4
As one would expect, Smith & Todd, like the Bard Brothers, were in the business
of producing nibs only. In 1856, Mabie, Smith & Co. was formed. Todd was one
of the partners. Eventually he became a partner in the first formation of Mabie,
Todd & Co. in 1860. This is a very simplified account of the beginnings of Mabie,
Todd & Co. The point is that Edward Todd was a successful businessman whose
primary experience was in selling. You don’t make someone a senior partner and
then spend years teaching him to make pencils. It would be a colossal waste of
time, not to mention a waste of Todd’s talent.
Todd evidently had a good head for business. In May of 1852, the R. G. Dun
Company (later to become Dun & Bradstreet) reported of Smith & Todd: “…at
present they consider to worth themselves 7 to 8m$ ($7,000-$8,000) and are doing a
good business of 30m$ ($30,000) a year…are careful, prudent, saving young men.”5
So how did Edward Todd have time to learn how to make beautiful writing instruments? I don’t think he did. A few months ago, I found a reference to a small piece in
The Jeweler’s Circular Weekly of February 5, 1919, which states, among other things,
that Edward Todd bought Newton Kurtz & Co.6 Phil Schatz was kind enough to go
to the library and furnish me with a copy of the article.
17
One must bear in mind that the article was written some 50 years after the afore-referenced Above: unmarked gold-filled
sale reportedly took place. Similar articles from the same source, written from the distance of some pen holder with a Newton, Kurtz
years, have been shown to be in error.7 There are errors of name and date in this account as well, but
there is enough information to follow the trail.
Simply put, the article states that C. F. Newton was successor to E. G. Bagley, and that Todd purchased C. F. Newton & Co. The Bagley in question would have been A. G. Bagley, not E. G. Bagley.
Bagley and John Mabie were arguably the first American pencil makers whose work moved beyond
well-made utilitarian writing instruments into the realm of artistic design. Public announcements
from contemporary newspapers and entries in New York City directories further document the progression of events leading up to the formation of Edward Todd & Co. in 1871:
& Co. nib. Kurtz & Monaghan
14K retractable toothpick and
earspoon.
Opposite page: top, Magnificent
14K hand-engraved Edward
Todd pencil and pen holder;
Center, close-up of pens on this
page; bottom, Red hard rubber
Newton, Kurtz & Co. pencil and
pen holder, from the collection
of George Kovalenko.
• December 31, 1855 marks the dissolution of A. G. Bagley & Co. The following day a new
partnership is formed, in which C. F. Newton joins as partner in a new business venture: Bagley,
Houghton & Co. The senior partners are A. G. Bagley and H. H. Houghton.
• Four months later, in April of 1856, H. H. Houghton buys out A. G. Bagley but keeps C. F. Newton as partner. The business
is now named H. H. Houghton & Co.
• In 1859, C. F. Newton & Co. makes its first appearance as a pen maker in the New York City directory. Kellar Kurtz and
Joseph Monaghan are also listed as working at that address and, in the manner of the making of these directories, could be
assumed to have been employed by the company. In 1867, C. F. Newton & Co. is no longer listed, but Newton, Kurtz & Co.
18
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appears. In 1868, Edward Todd leaves Mabie, Todd & Co. The 1868 directory no longer lists Newton,
Kurtz & Co., but Kurtz & Monaghan does appear. In 1871, Kurtz & Monaghan no longer appears and
Edward Todd first appears on his own.8
A portion of Mabie in America that has received a good deal of comment is a map showing the location of many early
New York City pen and pencil manufacturers. They were all within a few blocks of each other. At that time, the formation
of simple partnerships required no filing of legal documents or public notices (though the later step was sometimes taken).
It so happens that Bagley, Houghton & Co.; H. H. Houghton & Co.; C. F. Newton & Company; Newton, Kurtz & Co.;
Kurtz & Monaghan; and Edward Todd & Co. were all located at 1 Maiden Lane. As one listing disappears from the city
directory, it is replaced by the following. The building that now stands at 1 Maiden Lane and Broadway, known as the
Cushman Building, was completed in 1898, the year Edward Todd & Co. first incorporated.
The chronology for the address at which Edward Todd first appears is as follows:
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1856 Bagley, Houghton & Co. 9
1 Maiden Lane
1856 became H. H. Houghton & Co.
1 Maiden Lane
1859 became C. F. Newton & Co.
1 Maiden Lane
1867 became Newton, Kurtz & Co.
1 Maiden Lane
1868 became Kurtz & Monaghan
1 Maiden Lane
1871 became Edward Todd & Co.
1 Maiden Lane
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19
The supposition that some of Edward Todd & Co.’s pencils were made
by William S. Hicks and by his former partners at Mabie, Todd & Co. has
References:
been put forth in the past, due to the similarities in design, which at times
1. Clayton, W. Woodford, Comp. History of Bergen and
are indistinguishable from each other. It may well be true. That this group of
Passaic Counties, New Jersey, with Biographical Sketches of
pen manufacturing competitors was very well known to each other is further
many of its Pioneers and Prominent Men. Philadelphia:
illustrated by the fact that George W. Mabie is listed as a witness on Joseph
Everts & Peck, 1882. 255-256.
Monaghan’s only patent. Whether or not Edward Todd was a maker of pens
2. R.G. Dun & Co. Collection, Baker Library, Harvard
and pencils himself remains speculative,10 but it is at least clear that, with the
Business School. New York, Vol. 368, p. 417
purchase of an existing pen and pencil case manufacturer, he had only to sup-
ply the complete understanding of that business and the leadership necessary
to make it a continuing success. This in no way diminishes his contribution.
There was an unbelievable amount of competition in this arena of commerce.
In the late 1800s, pen manufacturers were springing up everywhere. Newspapers
of the day contain many, many notices and advertisements referring to pen and
pencil manufacturers whose names mean nothing to us today. As a shrewd busi-
6. Deb Crosby, in Victorian Pencils, Tools to Jewels.
nessman, rather than a craftsman, Edward Todd stands in the company of L. E.
Atglen, PA: Schiffer, 1998. 204-207, covers some of
Waterman, Walter A. Sheaffer, and others. Edward Todd & Co. produced some
this same information. Her book represents the first
beautiful writing instruments. Todd’s business acumen is further illustrated by
attempt to provide solid historical information on
his role in the founding of the Brooklyn Life Insurance Co. Announcements in
the early pencil makers. At the time of its publica-
the New York Times list him as a board member of that institution (1863) as well
tion, much of what we now know of the history of the
as of the Croton Fire Insurance Company of the City of New York (1863). Once
Mabie-related companies was unavailable. I believe
again, this brief bit of information points to the need of following up on several
some of her conclusions and information may be
✍
in error in light of the subsequent research that her
avenues of research. Just when I thought I was safe… book helped to spark.
7. In 1895, George Mabie felt the need to print a small
leaflet correcting historical information about Mabie,
Todd & Bard which had appeared in The Jeweler’s
Circular Weekly earlier that year.
8. Trow’s New-York City Directory. H. Wilson compiler. (New York: J. F. Trow publisher) (1859-1871).
According to Deb Crosby (see above reference), Edward
Todd went to Europe with his family for an unknown
period of time after leaving Mabie Todd & Co. Perhaps
he was weighing his options. Although his resignation
from the partnership was publicly announced in 1868,
he was listed in city directories as working at the Mabie,
Todd & Co. location as late as 1870.
9. The Maiden Lane address was the final address
for Bagley. Previously, the company was located on
Broadway.
Two Mabie Todd handengraved 14K combination
dip pen and pencil holders.
Left, engraved “Gratitude”
and right, “Golden Wedding.”
10. Mabie, Smith & Co. apparently represents the first
foray into nib making of any of the Mabie companies. I
have no proof that Edward Todd could not make a nib,
it just seems unlikely. In fairness, there are three patents
granted to Edward Todd, two for pencil cases and one
for a stylographic pen.
20
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green
Ink Color Trivia
glorious!
by Rhonda J. Foster
Thick ink, thin ink. Red ink, blue ink. There is always some controversy about which is the best ink, which
flows the most smoothly, which is the most attractive shade. But what can we discover about green colored ink?
After a recent internet discussion on the lore and symbolism of green ink, I set out to discover what the facts were.
What I discovered was a compendia of green ink trivia that would win you a place on any television quiz show—if they asked questions about ink,
that is. How many times have you paid for a purchase, counting out the currency without a second thought?
Even though debit cards and checks seem to be more often in use, old-fashioned cash still has a place in our economy.
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21
THE SHEAFFER
CONNAISSEUR
1985-1996
By Dennis Bowden
introduction
History
Readers of The Pennant do not normally
Sheaffer filed for trademark protection of the
expect to find an article on a pen made within the
"Connaisseur" name (the French spelling for those of
last 20 years. The Sheaffer Connaisseur, too new to
you who wonder about the odd spelling) on August 20,
be “vintage,” yet despite being a cartridge converter
1985, claiming first use in commerce on March 8, 1985.
pen, not quite “modern,” is the exception explored
Trademark registration occurred March 18, 1986.4 The
here. A pen Walter A. Sheaffer would be proud to
Connaisseur first appeared in the Sheaffer catalog in 19865,
find bearing his name, the Connaisseur is “Purely tra-
with a monotone 18K nib, housed in a silver colored Sheaffer
ditional. Purely classic. Purely of the 1920’s”1, right.
gift box. Accessories included a squeeze-type converter and a
Sixteen years before the appearance of the
box of five Sheaffer cartridges (below). The list price for the
Connaisseur line, Sheaffer reintroduced classic flat
Connaisseur, available only in black, was $100. A matching
top styling in the lower cost NoNonsense pen, a steel
twist action ballpoint was available at a list price of $45.6
nibbed cartridge converter pen still in production today.2
My love affair with the Connaisseur began two years later.
The 1980s ushered in a renewed interest in fountain
Up to then, I had only one fountain pen, a sterling silver Parker
pens and the major manufacturers moved to capitalize
75 that had been my daily workhorse since 1975. Although I had
on that interest, Sheaffer with the Connaisseur, Parker
never before seen a vintage Sheaffer, it was love at first sight, the
with the Duofold and Waterman with the Man 100 line;
main attraction being its appearance and styling. The Connaisseur
fountain pen and ballpoint arrived as a Christmas gift and became
all were designed to evoke classic fountain pen styling.
my daily users for many following years.
The Connaisseur, and the later Grand Connaisseur,
models offer the collector an opportunity to assemble a
collection encompassing all the colors, finishes, materials
Above, vintage Sheaffer Flattop (left) with Sheaffer Connaisseur. Below, Connaisseur in gift box.
and design variations without taking a second mortgage on
the family home. Connaisseurs are new enough to still be found with
a fair degree of ease and old enough to provide an interesting collection. As anyone who has used a Connaisseur knows, the added
bonus is a great writing pen that performs superbly.
Credit for the conception of the Connaisseur is claimed by
former Sheaffer employee and current P.C.A. Librarian, Dan
Reppert. 3 Around 1983, Dan, then a Sheaffer employee, proposed the concept of an upgraded NoNonsense pen as a higher
line writing instrument. According to Dan, the idea was not well
received, at least on the surface, and shortly thereafter, Dan left
Sheaffer for two years. On his return to Sheaffer employment,
Dan found he had missed the birth of the Connaisseur and that it
was already on the shelf, ready to be shipped.
22
summer 2006
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On the other hand, 1989 was a year of major change
in the line. Perhaps prompted by Parker’s release of the
Duofold in the previous year, Sheaffer introduced the more
prestigious (and costly) Grand Connaisseur pens.8 Standard
Connaisseur list prices increased to $125, a 25% markup.
New packaging featured a gray leather-like gift box with a
new insert. As before, a converter and box of cartridges were
included as was a lifetime guarantee card (left ).
The major news was the introduction of the Grand
Connaisseur pens in Black Laque and Tortoiseshell Laque,
with a new, larger, Palladium masked nib. Unlike the standard plastic barrel and cap pens, the Grand models were
constructed with a lacquered brass sleeve over the inner plastic barrel, adding considerable heft to the pen (below). The
Grand pens came at a considerable premium, priced at $275,
more than double the standard Connaisseur price.
Connaisseur with converter, box of cartridges and guarantee card.
By 1991, the price of a standard Connaisseur had
increased to $200, and the Cobalt Blue was no longer a catalog color, leaving black and burgundy.9 Also appearing in that
In May, 1988, two new colors, burgundy and blue (later named Cobalt
catalog, priced between the standard and Grand Connaisseur models at
Blue), were introduced to the Connaisseur line, joining the original black.
$250, was the Black Herringbone. A very attractive pen with “chasing”
List prices were maintained at previous levels.
reminiscent of the chased hard rubber pens of earlier years, the Black
7
The Grand Connaisseur, introduced in 1989.
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23
Herringbone is probably the most elusive
longer listed.11 No further price increases came during the remaining
of the standard Connaisseurs and com-
three years, and the Tortoiseshell Laque Grand Connaisseur was gone
mands a premium of 50% or more over the
from the catalog by 1995.12 As far as can be determined to date, 1996
other standard models when found (left).
was the last year any of the Connaisseur pens appeared in the Sheaffer
Two additional Grand Connaisseurs
catalog. Table 1 summarizes the Connaisseur models.
also were shown in the 1991 catalog.
Joining the original Black and Tortoiseshell
Model
Color
Years
Laque pens, now priced at $375 each, were
810-0
Black
1985-96
a fluted sterling silver and a 23K gold elec-
811-0
Burgundy
1988-92
troplated pens, priced, respectively at $550
812-0
Cobalt Blue
1988-90
and $450. Connaisseur packaging was
813-0
Ivy Green
1995-96
again changed, to the familiar Sheaffer red
815-0
Herringbone
1991-92
820-0
Black Laque
1989-96
821-0
Tortoiseshell
1989-93
822-0
23k Gold EP
1991-96
823-0
Sterling Silver
1991-96
instead of the earlier gray.
Joining the black and burgundy colors
in the standard Connaisseur line in 1992
was the last new color to be introduced:
Ivy Green. Prices remained unchanged
on the standard line and the Black
Herringbone. Grand Connaisseur prices
Where’s the Beef?
were again increased, with the top-of-
If you’ve made it this far, you’re probably wondering what could possibly
line sterling silver model increased
be so interesting about a modern technology fountain pen, albeit one with
In 1993 there was another
classic era styling. Along with being excellent, reliable performers, during
round of price increases, with the black
its brief ten-year life span the Connaisseur underwent minor revisions that
and Ivy Green models going to $210 and
provide a number of variations for the collector to seek out. Nibs, sections,
the sterling silver Grand Connaisseur
clips, and cap bands all show changes and in the following paragraphs I
increasing to $600. The burgundy and
will try to describe and illustrate these varieties and how they help place a
Black Herringbone models were no
Connaisseur in its proper place in the timeline.
to $575.
The Black Herringbone
Connaisseur.
Table 1. Connaisseur Models, 1985-1996. The 81x series
was the Standard Connaisseur line, while the 82x series
designated the Grand Connaisseur models.
10
Nibs and Sections
At the business end of the pen, Sheaffer
utilized four different nibs and sections
(front ends) in the Connaisseur Collection
as shown at left, and the type may be key
to determining the relative age of a particular Connaisseur. Types I and II were
utilized in the standard Connaisseur pens
while Types III and IV are unique to the
Grand Connaisseur models.
The Type I and III front ends have
a threaded metal sleeve at the end that
encloses the installed cartridge or converter while Types II and IV do not,
leaving the nipple exposed. The threads
were moved to the plastic portion of the
section on Types III and IV. The Type
I and III front ends are often seen with
a number stamped into the metal sleeve
(left). Whether this was a sequential
Connaisseur nibs and sections, types I through IV. Metal sleeve, right.
24
serial number or a control number of
some sort is unknown. The Type I secsummer 2006
The pennant
“1920” imprint disappeared at the
same time. It is logical from an
economic standpoint to standardize on one nib and section, with
the Grand Connaisseur version
being distinguished by its twotone mask. It appears that 1991
saw the appearance of the Types
II and IV section. The various
Sheaffer catalogs list available nib
sizes as extra-fine, fine, medium,
broad, stub and oblique, although
not all sizes are listed each year.13
Finally, it should be noted
that the Sheaffer Royal Selangor
Asia Series Bamboo, introduced
in 1996 at the end of the life of
the Connaisseur, uses the same
front end (Type IV) as the later
production Grand Connaisseurs.
And, although the nibs are different, the Balance II sections also
fit the Connaisseur and Grand
Connaisseur barrels, and have
been used by Sheaffer as replacements for damaged Connaisseur
Connaisseur cap bands and clips.
sections.
tion shown in the picture, is from an early standard Connaisseur that I
Cap Bands and Clips
acquired with the box and papers, including the $100 retail price tag, indi-
Moving up to the cap, three cap band variations have been observed on
cating pre-1989 production. The nib width was indicated by a screened
the standard Connaisseur, while Grand Connaisseurs have a common cap
letter on the plastic portion of the section as is commonly seen in contem-
band, except for the country of manufacture marking (page 26).
porary Sheaffer pens. One sure test to determine whether the original sec-
In the course of collecting and researching the Connaisseur, I have
tion in a standard Connaisseur is a Type I is to try threading one of those
seen only one example of the Type I cap band, although others undoubt-
types into the barrel. The pens originally equipped with a Type II front
edly exist. The Type I banding consists of one 3 mm gold plated band and
end will not accommodate the Type I unit. The same does not seem to be
one 1 mm gold plated band, separated by an approximately 1mm band
true with the Grand Connaisseur models.
that looks to be black lacquer. The bottom band stops just short of the cap
The first two Grand Connaisseur models, the Black and Tortoiseshell
lip. Unique to this type is the absence of an imprint of any kind. The one
Laque pens introduced in 1989, seem to have been fitted with the Type
example seen is coupled with a clip bearing the "SHEAFFER" imprint in
III front ends, while the later two, the 23K gold plated and the sterling
small block letters.
silver models came equipped with the Type IV units.
What has been designated as the Type II cap band is identical in size
Three nib variations exist in the Connaisseur pens. The all-gold
and shape to the Type I but has “SHEAFFER” imprinted on the upper
18K nib is found in the standard Connaisseur pens in both Types I and
band in block letters directly below the clip and “U.S.A.” 180 degrees away.
II front ends. The original Grand Connaisseur nib (Type III) is larger
The Type III is distinguished from the Types I and II in two ways. First,
and bears a different imprint and a Palladium mask to give a two-tone
the size of the Sheaffer imprint has been reduced and the font changed
effect; “1920” was added to the nib imprint, though I’m not certain
to a cursive using both upper and lower case letters, thus it appears as
what significance that year would have to Sheaffer. With the addition
"Sheaffer." The U.S.A. was also changed to a cursive font: "U.S.A." Second,
in 1991 of the 23K gold plated and sterling silver Grand Connaisseurs,
the band was lengthened and sloped to the edge of the cap lip.
the Grand Connaisseur nib shrank back to the same size nib as the
The Type III band appears on all Grand Connaisseurs and many
standard Connaisseur nib, identical except for the two-tone mask. The
standard Connaisseurs. When the Type III band appeared on the Grand
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summer 2006
25
other two caps shown below are from the lower
line NoNonsense pens, one silver-colored and
one gold-plated. Note the similarity with the
Connaisseur clip shown on the far right. All the
clips measure 3.8 cm in length. Exactly when the
Type I clip and cap band were used is not known,
but a piece of camera-ready line art dated 5/89
(see photo, far right), intended for Connaisseur
advertising, illustrates the Connaisseur clip with
what appears to be the “SHEAFFER” imprint
(opposite page). All available catalogs, however,
have photographs of pens with the plain clip
without any imprint.
Sheaffer/Levenger Models
Although Sheaffer dropped the Connaisseur
collection from the lineup, the Connaisseur
style lived on for several years in the form of
the Sheaffer/Levenger (“Seas”) Connaisseur.
Featuring 14K instead of 18K nibs, the pens
were offered in a variety of translucent colors and at least two Grand Connaisseur models were offered with lacquered barrels and
Palladium caps. The Sheaffer/Levenger pens
offer enough variety that to cover them here is
not practical.
Type III cap bands showing country of origin.
Connaisseurs in 1989, I had thought that it also replaced the
standard Connaisseur cap band at the same time. Subsequent
observation however, shows that, like many changes made to
fountain pen design, there was apparently no hard line for
the change. Instead, the Type II band was used at least as
late as 1991. The herringbone pattern standard Connaisseur
was introduced in 1991 and has been observed with both the
Type II and Type III bands. The value in dating a standard
Connaisseur by the cap band type is therefore limited. The
presence of a Type III band indicates production in 1989 or
later, while a Type II band can be found on pens produced
until at least 1991. Grand Connaisseurs were produced in both
the United States and England, and the country of origin is
imprinted on the Type III bands opposite the clip (page 25).
Moving up the cap, only two clip types have been observed.
Identical in size and shape, the most common is the plain clip
without any imprint of any kind. Less common is the clip
shown with “SHEAFFER” imprinted in small block letters
(right). I have seen only one of these, and it was coupled with
the plain unmarked cap band designated as Type I, above. The
26
NoNonsense clips (left and center) and Connaisseur clip (right) with "SHEAFFER" stamp.
summer 2006
The pennant
The information in this article is current as of
May 2006. As with the study of any brand or
model, new information may surface at anytime
that may contradict what is written here. I welcome any correction of factual errors.
Special thanks to Dan Reppert who took the
time to research his personal collection.
References:
1. Sheaffer White Dot Writing Instruments and
Desk Accessories catalog, p.10, 1995.
2. See http://www.penhero.com/PenGallery/
Sheaffer/SheafferNoNonsense.htm for a history
of the NoNonsense.
3. Conversations and emails between the author
and Dan Reppert in 2005 and 2006.
4. U.S. Patent and Trademark Office, http://
w w w.u s p t o. g ov / m a i n / t ra d e m a rk s . ht m ,
Registration number 1386776.
5. Sheaffer Eaton Fine Writing Instruments &
Accessories catalog, printed 12/85.
6. The author is in possession of the original
sales receipt for his first Connaisseur fountain
pen and ballpoint. The price paid on 12-07-87,
was $29.97 for the ballpoint and $59.97 for the
fountain pen, a discount of nearly 40% off list.
7. Sheaffer “ White Dot” price list effective
May 1, 1988. The burgundy and blue standard
Connaisseurs are marked “NEW.”
8. Connaisseur Collection “sell sheet” and White
Dot Writing Instruments catalog dated 5/89,
courtesy of Dan Reppert. This is the only use of
the name “Grande” Connaisseur observed.
Camera-ready line art showing clip with "SHEAFFER" stamp.
9. Sheaffer White Dot Writing Instrument
Collection 1991, Retail Price List, 4/91.
Collecting the Connaisseur
10. Sheaffer 1992 Retail Price List, 3/1/92.
With the variety of colors, patterns and materials, the Sheaffer Connaisseur and Grand
11. Sheaffer 1993 Retail Price List, 3/1/93.
Connaisseur pens offer the collector the opportunity of acquiring a complete collection,
12. Sheaffer Retail Price List, 1/1/95.
including the minor variations in clips and cap bands, without mortgaging the family
13. Sheaffer catalog for 1991, for example.
home. As modern pens with classic styling, the Connaisseurs have the added bonus of
However, the 1988 catalog, printed 11/87, lists
being great writers. The challenge of completing the set is not so great as to be over-
only the EF, F, M, and B nibs.
whelming, and the basic black standard Connaisseur can often be had for less than $100,
complete with box and papers. Even the most elusive model, the herringbone pattern,
can still be found for less than the price of many other, more common pens. So, whether
you are just looking for a dependable writer with classic good looks or enjoy the collecting of
varieties, the Sheaffer Connaisseur fills the bill.
✍
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27
after
WW II
by Giovanni Abrate
Part II
In the last issue, Aurora emerged from
WWII with the introduction of the
timeless 88. This concluding installment
continues the story of Aurora’s growth
in the post-88 era up to 1970.
The Auretta School Pen
sions of the nozzle (mouth) to avoid legal action by Aurora. The Auretta looked
streamlined and modern and reprised some of the styling motifs of the 88P.
Made entirely of plastics, the Auretta was a sturdy pen that could withstand
the daily abuses of schoolchildren and was fitted with a semi-hooded steel nib that
wrote smoothly and reliably (Fig. 1).
The section was reminiscent of the one used in the 98, a pen which had
recently been launched and that was to be, in Aurora’s plans, the new flagship
and a valid competitor for the new Parker 61. The barrel sported an end jewel
similar to the one used in the DuoCart. Just one look and people knew they
In the 1950s, Italian students had to use a fountain pen until
were looking at an Aurora pen, and the build quality did not disappoint. The
they reached high school. The fountain pen that was most sought
Auretta was immediately successful and sold in huge quantities. The original
after by Italian students at the time was the classic Pelikan 120,
Auretta of 1964 was made in grey or black polystyrene, with chrome trim.
green and black, totally reliable and filled from a bottle. Pelikans
After a few years the Auretta was given a face-lift. The shape remained practi-
were so popular in Italy that a production line was set up in
cally unchanged, but the pen was made a little shorter and was made of a new
Milan by the parent company. Those students who could not
plastic material, more durable and scratch resistant and dubbed by Aurora as
afford a Pelikan could choose a LUS Atomica, practical and very
“Crack-proof.” With the new plastics, the Auretta introduced many new and
inexpensive (you could buy 80 LUS Atomica pens for the cost
bright colors. The pen was sold ready for use, with a cartridge already in place.
of one Aurora 88), which used practical plastic cartridges. There
This second variant of the Auretta remained in production for over fifteen
were also several inexpensive piston-fill brands made in the town
of Settimo Torinese, fitted with cheap, but workable nibs and
using generally low grade components. These were assembled in
huge numbers in many family-run workshops and sold in street
markets, cheap department stores and small stationery shops.
This scenario changed radically
with the arrival on the scene of the
Auretta.
The Auretta was Aurora’s student pen, offering excellent writing qualities, modern styling and affordable pricing. The Auretta
used plastic cartridges, with two cartridges held back-to-back in
the barrel, in a configuration that was derived from the DuoCart
(but the Auretta did not use a metal holder). This design was
later adopted by Pelikan and several other manufacturers. The
Auretta cartridges were smaller than those of the DuoCart and
looked very similar to today’s “international size” cartridges,
which were developed for the Pelikano and were clearly based on
the design of the Auretta cartridge; Pelikan changed the dimen28
Fig. 1. The Auretta school pen.
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years. In the mid-1970s a new school pen was launched by Aurora and
barrel. By pressing down on the metal “jewel” located at the top of the bar-
was given the Auretta name, even though the pen was of a completely
rel, it could be extracted and rotated to operate the piston filling mecha-
new design and used a different nib (Fig. 2). The nib was designed to
nism. After the filling operation was completed, a press of the thumb
make it easier for ballpoint users to move to using this fountain pen:
would retract the button to its stowed position.
the tip of the nib was in the center of the cross section of the pen, like
2. The 98 offered the so called “Riserva Magica” (Magic Reserve) feature.
the ball of a BIC stick pen.
The plastic piston used to fill the pen featured a small receptacle that
A New Flagship Pen is Born: Enter the
Aurora 98 Riserva Magica.
was used to trap a drop of ink. When the ink reservoir was empty,
The early 1960s were eventful years in Italy and the world: Italy celebrated
drop of ink trapped inside the receptacle in the piston came into con-
the centenary of its unification with a World’s Fair in Turin, an occasion
tact with the ink feed. This allowed the nib to draw enough ink for an
to look back at the past of the city and the country and forward to the
extra page or two of writing. The feature was quite successful, at least
future achievements of science and technology. In the Soviet Union, Yuri
as a marketing gimmick, and Parker adopted a similar device when it
Gagarin’s space flight sparked a new interest in the cosmos and in space
designed its ink cartridges for the Parker 45 (and all following Parker
exploration. Fountain pens, in 1961, were already old fashioned. Struggling
cartridge pens, to the present day).
pen makers made an all-out effort to update their designs and project an
image of forward-looking technology and futuristic design. Parker intro-
the writer could lower the piston all the way down the barrel until the
3. The ink reservoir was made with a tapered cross section, which was
wider at the section end and slightly narrower at the filler knob end. This
enabled the pen to keep a very tight seal when
Fig. 2. The Auretta Mk2 and Mk3.
the piston was fully retracted, even after the
piston had suffered some wear. This greatly
extended the useful life of the plastic piston
seal: it is not uncommon to find 98s these days
that are still operating perfectly and show no
signs of a leaking piston.
The 98, appreciated for its balance and
writing qualities, was a good pen and sold
in good quantities. Unfortunately, Italy, like
most of the Western world, was moving
away from fountain pens and was embracing
the many new ballpoint pen models, which
offered maintenance-free writing in slender,
practical pens that by the 1960s had become
reliable and long lasting. Aurora introduced a
stylish retractable ballpoint pen, which sold
duced the Parker 61, the pen that “filled itself,” thanks
to its capillary reservoir. Italian pen maker LUS presented the “Magica”, a pen that was filled with water
and wrote with ink, thanks to an ingenious reservoir
of ink pellets.
Aurora started the design of its new flagship pen,
the 98, in 1962, and the new pen was officially launched
in 1963. It was an elegant pen, thin and slender like the
Parker 61, and it could be filled, if not by itself, at least
without the need to remove the barrel (Fig. 3 ).
The 98 retained the general look of the 88, with a
more streamlined and modern appearance due to its
thinner barrel and its slightly more angular curves.
The 98 introduced several innovative features:
1. The pen could be filled without having to remove its
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summer 2006
Fig. 3. The 98 Riserva Magica.
29
The Hastil
In 1969 Aurora needed a new pen, in fact, a new
image. The world was changing, man had reached
the moon and society was going through an evolutionary turmoil. Nobody bought fountain pens
anymore. The next Aurora pen had to be something new, exciting and revolutionary: a new flagship pen for the new decade. All experts advised
Verona to produce a high-end ballpoint pen. After
all, how could a fountain pen, an object considered
passé, generate excitement in the buying public of
1970?
If it failed, it might be the last Aurora fountain
pen.
Franco Verona took his inspiration from the
Fig. 4. Cartridge version of the 98.
way Aurora had developed the 88 in 1946 and
decided to hire the top Italian industrial designer of
well in spite of tough competition from such pens as the Parker Jotter,
the time: Marco Zanuso. Zanuso had been a disciple of Marcello Nizzoli’s
Ballograf Epoca and low priced pens from Pelikan and from local pen
and had developed a personal style which was elegant almost to the point
maker Universal, among many others.
of minimalism (Fig. 6 ). His creation was a trendsetter; he called it the
For Aurora, it was the beginning of a dark period, with dwindling
Hastil (Italian for “endowed with style”) (Fig. 7).
fountain pen sales that hurt the bottom line. Only the Auretta, with its
The Hastil’s introduction had an incredible impact in Italy. It is
steady sales at the beginning of each school year, kept Aurora afloat. The
said that 98% of all Italian pen retailers bought the new pen. The pen
88 was still being produced, even while the 98 was being made. The 88
immediately became an objet d’art and it became the pen of choice of
retained a core of passionate fans that preferred its stately looks to the newer, sleeker
lines of the 98 (Fig. 4 ).
A new variant of the 88 was introduced in
the mid-sixties: it was made of a new, resilient plastic material and sported a “frosted”
look. Both the plastic parts and the cap had
a surface treatment that gave a non-reflective
appearance to the pen and provided a pleasant, non-slip feel to the writer. A very similar
finish was later adopted by the Lamy 2000
from Germany, a pen that was clearly inspired
by the Italian pen (Fig. 5).
Pressed by a rapidly shrinking market,
Aurora modified the 98, simplifying its
design and lowering its production costs. The
new 98 was a cartridge pen, made of the same
Fig.5. Late 88 and 98s with “frosted” finish.
plastic as the frosted 88 and it was offered in a
great number of different finishes. The workmanship suffered somewhat,
architects, designers, successful executives, intellectuals and all those
and the 98s of the late 1960s were not in the same class as the original
Italians who loved simple lines and innovative design. The Hastil was
“Riserva Magica” model of 1963.
the first modern cylindrical pen. Like the Nizzoli 88 before it, the
It looked like the end was approaching. Aurora was in trouble, and
design concept of the Hastil extended beyond the pen, to its container.
after 69 years of successes, the company was facing bankruptcy. The
The cylindrical case was designed to complement the lines and capture
owners, the Enriquez family who were related to the founder of Aurora,
the essence of the pen. The design of the Hastil took Marco Zanuso
decided to sell the company. The new owner was Franco Verona.
and the Aurora project office over two years. The pen was so innova-
30
summer 2006
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The nib was made of white gold and was offered in six
different widths. The cap could be posted without causing
scratches to the barrel thanks to a unique system of spacers and retaining tabs. The ink collector was oversized and
designed for safe operation on aircraft. The pen used cartridges or a converter, which Aurora named “trik-trak.”
The Hastil became a trendsetter and was probably the
most copied pen of the ‘70s and ‘80s (Fig. 8).
From the original Hastil, Aurora, over the years, would
develop several variants, including gold guilloche’ pens, pens
with lacquer over precious metals and other finishes that,
frankly, go against the pure and essential sprit of the Zanuso
design. The only exception, in my opinion, is the beautiful
and understated “Flighter” version in steel with gold accents
that was sold exclusively on board transatlantic flights of the
Italian airline Alitalia.
After the success of the Hastil fountain pen, Aurora introduced a ballpoint version of the same pen, with a telescopic
retractable point.
From the original 88 to the Hastil, from 1946 to 1970
Fig. 6. Some Zanuso designs.
– twenty-four years, during which Aurora recovered from a
tive that the New York Museum of Modern Art requested a pen from
war that left it without even a factory, designed a classic pen,
Aurora to place on permanent display.
Aurora called the bright satin finish “Ecosteel
Diamantato.” The clip, which was hinged and controlled by a spring mechanism, was made entirely
of selenium steel, forged and hand finished. The
clip mechanism was ultrasonically cleaned after
assembly. The barrel and cap were first treated
with a process called “Chromolight” by Aurora,
then diamond etched (diamantatura), polished
and finally given a satin finish. These three last
operations were done entirely by hand.
Fig. 8. The Hastil's timeless design.
Fig 7. Zanuso's Hastil.
the 88, which remained in production for over 20 years,
invented the modern plastic cartridge and finally introduced a pen, the Hastil, which revolutionized the precepts of pen design. Aurora not only survived the postwar years but managed to produce innovative, groundbreaking pens that will influence writing instrument
design for years to come.
✍
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31
Taxonomy
Late 1940s Sheaffer Models: 1947
by Jim Mamoulides
The last issue chronicled Sheaffer’s transition from wartime to peacetime production,
and described the 1946 pen line. This installment describes the 1947 line.
1947 – New Products
Nineteen forty-seven was the year of the ballpoint. While Eversharp and Reynolds were fighting almost
literally to the death over the Biro ballpoint, Sheaffer introduced the Stratowriter capped ballpoint across the entire line of pens, with its
unique screw in cartridge. Almost every pen model had a complementary Stratowriter ballpoint, giving birth to the “threesome” pen, pencil and Stratowriter sets. Stratowriters were expensive, costing nearly as much as the pen, and were positioned in the line much as today’s
32
xxx
summer 2006
The pennant
capped rollerball pens are. The top of the line
Stratowriter was the solid gold or gold-filled push
button model, using a push-and-turn latching
mechanism. Given simply the Stratowriter name,
and it hinted at future pushbutton type ballpoint
pens. The rest of the Stratowriters complemented
the pen line with identical trim models, including
the Triumph Stratowriter For Your Autograph,
Triumph Tuckaway Stratowriter For Your
Autograph, Crest De Luxe Stratowriter, Crest De
Luxe Tuckaway Stratowriter, Sentinel De Luxe
Stratowriter, Sentinel Tuckaway Stratowriter,
Valiant Stratowriter, Valiant Tuckaway
Stratowriter, and the all-gold-filled Stratowriter
Tuckaway. Interestingly, Stratowriters were initially
only offered in black.
Another new development in the 1947
Sheaffer line was the Sentinel model. The 1947
Sentinel was Sheaffer’s first stainless steel cap
pen, and the model name would stick with stainless steel cap pens through the Snorkel era. This
Sentinel had a brushed stainless steel cap with
a polished gold filled cap band and a gold filled
clip. The Tuckaway Sentinel was essentially the
same, except for the Tuckaway clip.
The 1947 lineup was:
White Dot pens
No pencils have White Dots. Stratowriters are
black only. All lever-fill pens are black only.
The following models have 14 karat gold
two-tone Triumph nibs:
• Masterpiece—Solid 14 karat gold cap, clip and
barrel, lever fill only, $100.00; matching pencil,
$50.00; matching push-button solid 14 karat
gold Stratowriter, $67.50.
• Crest Masterpiece— Solid 14 karat gold cap,
black Radite barrel, lever and vacuum-fil,
$50.00; matching pencil, $25.00; matching
push-button solid 14 karat gold Stratowriter,
$67.50.
• Triumph For Your Autograph—Black Radite
cap and barrel, solid 14 karat gold clip and
9/16 inch cap band, lever and vacuum-fil,
$20.00; matching pencil, $15.00; matching Stratowriter, $15.00.
• Triumph Tuckaway For Your Autograph—Black Radite cap and barrel, solid 14 karat gold
clip and 9/16 inch cap band, lever and vacuum-fil, $20.00; matching pencil, $15.00; matching
Opposite page: top, Sheaffer Admiral and Valiant
in gray striped celluloid; bottom left, Sheaffer
Sentinel pen and pencil set; bottom right,
Sheaffer Stratowriter Gold Filled and Sheaffer
Masterpiece.
This page: Sheaffer 1947 Catalog Images.
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summer 2006
Stratowriter, $15.00.
• Crest DeLuxe—Gold filled cap and black or brown Radite barrel, lever and vacuum-fil, $17.50; matching pencil, $6.00; matching Stratowriter, $12.50.
• Crest Tuckaway DeLuxe—Gold filled wavy line engraved cap and black or brown Radite barrel,
lever and vacuum-fil, $17.50; matching pencil, $6.00; matching Stratowriter, $12.50.
33
• Sentinel DeLuxe—Brushed stainless
steel cap with gold filled clip and 3/8
inch cap band and black, green or grey
Radite barrel, lever and vacuum-fil,
• Sentinel Tuckaway—Brushed stainless
steel cap with gold filled clip and 3/8
inch cap band and black, green or grey
Radite barrel, lever and vacuum-fil,
• Valiant—Radite cap and barrel in black,
brown, green, carmine, and grey (chrome
trim), gold filled clip and 9/16 inch cap
band, lever (black only) and vacuum-fil,
$12.50; matching pencil, $5.00; matching
Stratowriter, $10.00.
• Valiant Tuckaway—Radite cap and
barrel in black, brown, green, carmine,
and grey (chrome trim), gold filled clip
and 9/16 inch cap band, lever (black
only) and vacuum-fil, $12.50; matching
pencil, $5.00; matching Stratowriter,
$10.00.
• Statesman—Radite cap and barrel in
black, brown, green, carmine, and grey
(chrome trim), gold filled clip and 3/8
inch cap band, lever (black only) and
vacuum-fil, $10.00; matching pencil,
$4.00.
• Tuckaway—Radite cap and barrel in
(chrome trim), gold filled clip and 3/8
inch cap band, lever (black only) and vacuum-fil, $10.00; matching pencil, $4.00.
The following models have open two-tone
14 karat gold nibs:
• Sovereign— Radite cap and barrel in black, brown, green, carmine,
and grey (chrome trim), gold filled
SHEAFFER’S stamped clip and 3/8
inch cap band, lever (black only) and
vacuum-fil, $8.75; matching pencil,
$4.00.
34
Sheaffer 1947 Catalog Images.
summer 2006
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• Lady Sheaffer (Tuckaway)—Radite
cap and barrel in black, brown, green,
carmine, and grey (chrome trim), gold
filled SHEAFFER’S stamped clip and
3/8 inch cap band, lever (black only)
and vacuum-fil, $8.75; matching pencil, $4.00.
Non White-Dot pens
The following pen has a 14 karat gold twotone open nib:
• Admiral—Radite cap and barrel in black,
brown, green, carmine, and grey (chrome
trim), gold filled SHEAFFER’S stamped
clip and 1/16 inch cap band, lever fill only,
$5.00; matching pencil, $3.00.
The following pen has a 14 karat gold #33
open nib:
• Craftsman—Radite cap and barrel in
(chrome trim), gold filled SHEAFFER’S
stamped clip and 1/16 inch cap band,
lever fill only, $3.50; matching pencil,
$3.00.
There were three Stratowriter models. The push button pen came in solid 14
karat gold and gold filled ($15.00). There
was also a clipless Tuckaway type gold filled
model ($15.00).
Next Issue: Sheaffer’s 1948 models.
✍
References:
1946 Sheaffer Catalog, Sheaffer Pen
Corporation, Fort Madison, Iowa, USA;
1947 Sheaffer Catalog, Sheaffer Pen
Sheaffer’s Review, January 1948, Sheaffer Pen
Sheaffer’s Review, March 1948, Sheaffer Pen
“But I Was Just Getting Used To It At The
Top,” Daniel Kirchheimer, The Pennant,
Sheaffer 1947 Catalog Images.
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summer 2006
Spring / Summer 2004.
35
CryptoPENology Iv:
Myths of a lifetime, Part I
by Daniel Kirchheimer
The Conventional Wisdom demolition team goes to work on
some widely-held beliefs regarding Sheaffer’s Lifetime Pens
In last issue’s Cryptopenology column, I alluded to one of the most
Here’s another example:
entrenched ‘facts’ in the lore of fountain pen history: the striking down
“In 1921 [sic] Sheaffer startled the writing instrument world by
of Sheaffer’s Lifetime Guarantee by the United States Federal Trade
introducing a pen priced at $8.75 – three times as much as the price
Commission on the grounds that the company couldn’t possibly back up
of competitive products.”
such a wild promise. In this two-
Online sources offer similar charac-
part series, I’ll explore that issue,
terizations; here is a sampling:
along with a couple of other bits of
“Sheaffer took a bold step in
questionable knowledge surrounding
1920 when it released the $8.75
Lifetime pens.
Lifetime model – more than
The Lifetime Legend
twice the price of other compa-
Here, in a nutshell, is the conven-
rable pens on the market.”
tional wisdom regarding the Sheaffer
“ The ‘Lifetime’ pen, as it was
Lifetime guarantee: In 1920, radi-
called, went on sale in about
cally departing from established
1920 for prices starting at $8.75
industry norms, Sheaffer intro-
-- twice or more what Sheaffer
duced a pen that was guaranteed for
asked for comparable non-Life-
life from top to bottom, and they
time models ….”
priced it at triple what the equivalent
Coupled with the widely-
non-guaranteed pen cost. Sheaffer
held belief that the new pen was
exploited this industry-leading policy
guaranteed for life from stem to
until 1947, when the Federal Trade
stern (more on that later), the
Commission ruled that the Lifetime
clear impression one forms is that
guarantee was deceptive because
Sheaffer doubled or tripled the
Sheaffer could not possibly back it
price of an otherwise-comparable
up, and the company was ordered to
item in recognition of the value –
cease offering their famous policy.
and cost – of that unprecedented
The reality, as we often discover, is
guarantee they were adding.
quite a bit different…
The reality is rather different.
Myth #1: The “Groundbreakingly
In fact, the least expensive clip pen
High Price Point” Myth
sold under the Sheaffer name at the
Kind of a mixed metaphor there, eh?
Sheaffer 1921 advertisement
Sorry, but I’m on deadline. Regarding
time – the model 2C, where ‘2’ represented the nib size – cost $2.75,
the subject at hand, this much is not in dispute: Sheaffer introduced their
according to the 1920 catalog (though, admittedly, that item might also
Lifetime pen in 1920, and the price of the first model to appear in catalogs and
have been their most popular). However, larger models cost more, and at
ads that year was $8.75. With respect to this price, many sources, both online
the upper end, size-wise, was Sheaffer’s model 8C with a generous No. 8
and in print, make statements similar to the following, found in a book about
point (the ‘C’ indicated that the pen was chased). This model, which was
fountain pens:
identical to the $8.75 Lifetime pen save for the nib and guarantee, was
“In 1920 the first Lifetime pen was introduced. Prices for the range
priced at $8.25, but if a buyer wanted the pen fitted with a manifold nib,
were quite high, the lowest selling at $8.75, about three times as
there was a $0.50 surcharge, bringing the price up to that very same $8.75.
much as competitor’s products.”
This is no coincidence, as the Lifetime nib was, for all practical purposes,
36
summer 2006
The pennant
just a manifold nib with a ‘LIFETIME’ imprint.
this myth; they certainly propagated it, as it shows
black chased model 26-1/2, for example, was
Sheaffer even used the same model number for
up in materials the company disseminated in the
$6.75 when equipped with a gold filled clip, and
the equivalent model of the new pen, desig-
1970s. However, identifying the genesis and spread
the larger pens in the model 28 series were even
nating it the 8C Lifetime. Indeed, at least one
of this falsehood is beyond the scope of this col-
more costly than the Duofold. In fact, Parker
period advertisement for the Lifetime pen used
umn (deadline, remember?).
advertising plays up not the high cost of the
its non-lifetime twin (see illustration on page
By the way, Sheaffer’s Lifetime is not the
new pen, but it’s relatively low cost; one 1921 ad
36). Sheaffer did not attempt to associate cachet
only pen to be subject to a characterization of
makes a point of explaining why the pen is so
with, or offer a justification for, the pen’s high
this sort; similar assertions are also seen in ref-
inexpensive:
price (as did Montblanc during a campaign in
erence information regarding the marketing of
“Measured by fountain pen standards
the 1970s, when they facetiously asked, “A foun-
Parker’s Duofold:
this Over-size beauty is a $10 pen for $7.
tain pen for $75? Who needs it!”),
Our price is possible only because the
and 1921 Sheaffer ads gave the price
Duofold’s boundless popularity has
as “only $8.75.”
afforded us large quantity production,
Far from pricing the new model at
thus scaled down the cost per pen.”
“twice or more what Sheaffer asked
Far from being ‘over twice the going
for comparable non-Lifetime models”
rate for pens at the time’, the new Duofold
to subsidize their guarantee cover-
was actually less expensive than Sheaffer’s
age, Sheaffer actually priced the pen
Lifetime pen that had appeared the year
exactly the same as the comparably-
before.
configured item from their non-Life-
Myth #2:
time line, in effect charging nothing
Guaranteed” Myth
extra for the Lifetime coverage.
As alluded to above, it is widely believed
“ The Whole Pen Is
As with many myths, this one may
that Sheaffer’s Lifetime guarantee delivered
have sprouted from a kernel of truth. It
bumper-to-bumper coverage. One online
is not unreasonable that Sheaffer did
reference page says,
succeed in altering the pen market (for
“Sheaffer determined to address this
all makers) in a quantum way by estab-
perception head on [that pens did not
lishing a sharply higher price level for
enjoy a surpassingly good reputation
mainstream offerings, and that market
for reliability] by creating a pen that
shift was permanent. Therefore, it may
was even more expensive, but that car-
be accurate to say, as Time magazine
ried a nearly unconditional lifetime
guarantee.”
did in 1935, that the Lifetime “was the
first standard high-priced fountain pen
Sheaffer 1945 advertisement
In truth, when the Lifetime pen was
introduced, only the super-stiff manifold
launched on what had always been a
low-priced market,” and even Sheaffer themselves
“Parker priced the new pen at over twice
point was guaranteed, and that limited level
advertised in 1926 that “the world pays more for
the going rate for pens at the time: US
of coverage did not change for half a decade.
a Sheaffer fountain pen than for any other,” but
$7.00 ….”
Again, there is an identifiable reason why this
that is a far cry from the picture usually painted of
Again, an examination of Parker’s line at the
myth evolved; in 1925, according to FTC doc-
the Lifetime pen appearing at double or triple the
time of the introduction of the Duofold shows
uments from 1945, Sheaffer did expand the
cost of equivalent non-guaranteed pens. Sheaffer’s
that they offered pens of similar size and trim
promise to cover the whole pen due to its per-
own publicity machine may even have launched
for about the same price. Their similarly-sized
ceived increased durability, as it was now made
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summer 2006
37
of Radite (celluloid) rather than of hard rubber. One 1926 ad proclaims,
“For the first time a device has been absolutely guaranteed for a lifetime.
No cost for repairs.” Another declares, “No repair costs for the pen that has
Palmer, Continued from page 15
The Palmer Method Today
the little white dot.” In fact, it may just be this quiet move that is the most
The A.N. Palmer Company folded almost two decades ago; it no
longer trains teachers, and its method no longer pervades classrooms, but materials and style samples remain available, here
and there, for the convenience of those who admire this style
and wish to perpetuate it.
Today, and for a couple of years more at least, one can still occasionally purchase 1970s/1980s Palmer Method materials through
Macmillan. On eBay and other Internet auction houses, one can also
purchase recent or earlier Palmer Method materials, new or used.
The 1970s/1980s materials differ from the earlier editions mostly in
a few details of letter formation and in the inclusion of a print style
for younger children, which earlier Palmer editions did not use or
approve using.
Additionally, one can now purchase Palmer computer fonts
for printing one’s own Palmer-style workbooks from Educational
overlooked marketing innovation by Sheaffer, and it certainly forced eventual
Fontware (educationalfontware.com), which makes handwriting
imitation by all their top-tier competitors. It may also have ultimately proved
fonts to match a variety of school handwriting styles past and
the source of a financial strain – after all, pens break, and the guarantee was
present. Educational Fontware makes two Palmer Method cur-
unconditional and even covered accidental damage. Thus may have started
sive handwriting fonts: one to match the earliest editions of the
a series of moves and responses by Sheaffer (and other manufacturers), and
Palmer Method, and one to match the 1970s/1980s editions.
their Uncle Sam, to contain the costs associated with these comprehensive
guarantees while staying within the bounds of the law.
Some individual teachers, and a tiny and fast-diminishing
few school districts, continue to teach the Palmer Method from
In the next issue we will bust the biggest and probably the most widely accepted
the above materials and/or from the memories of the occasional
myth: “The Federal Trade Commission Abolished the Lifetime Guarantee as
staffer old enough to have learned handwriting from a graduate
Unfulfillable” Myth.
of one of the last few training courses the company gave before it
✍
closed. In some cases, schools or teachers describing themselves
as “teaching Palmer Method” turn out to have learned it secondhand from someone whose teacher had once had a Palmer-trained
References:
1. Time Magazine 1935
teacher at school.
Ironically, though, Austin Norman Palmer and the A. N. Palmer
http://www.time.com/time/magazine/article/0,9171,711715,00.html
Company might not have considered much of this teaching “Palmer
2. Collectible Fountain Pens, Glen Bowen
Method” at all! Palmer himself, and later the A. N. Palmer Company,
pg. 109 (materials provided by Sheaffer per attribution at the end of the
did not permit people who had not passed the company’s training
piece).
program, initially administered by Palmer, to say that they taught the
3. 1925 FTC Documents
Palmer Method; only those certified by Palmer or his trainers could
According to the “Findings as to the Facts” section of the May 3, 1945 FTC
claim to teach it. Since the firm no longer exists, its training and certi-
decision on Sheaffer’s Lifetime guarantee, Sheaffer extended the guarantee
fication program no longer exists. The few survivors of that program
from just the nib to the whole pen with the introduction of celluloid pens in
will, inevitably, themselves soon pass away.
1925, though I am not certain this is accurate, as some 1926 ads do not state
that the whole pen is guaranteed.
Interest in handwriting has revived and increases, as Pennant
readers well know, but that interest increasingly tends to involve
italics, script and variations, rather than Palmer and similar styles
of cursive. Styles that looked adequately, or even starkly, simple and
efficiently practical in Palmer’s day look and feel much less than
38
summer 2006
The pennant
Practicing
Palmer
Perfectly
The pennant
summer 2006
39
TECHNOTES
THE CANTOR LECTURES by Victor Chen
In January, one hundred and one years ago, James P. Maginnis
the dipping. The last part of this lecture devotes some six pages to describing
delivered a series of three Cantor lectures on “Reservoir, Fountain and
the attempts to increase the ink capacity of the nib by creating a larger reser-
Stylographic pens.” A century later, Geoff Roe of the Writing Equipment
voir in the nib.
Society (WES), celebrating the 25 years of its organization, offered a
Nib reservoirs can be created by piercing, folding (such as wings) or
bookend lecture on “Ink-Reservoir Writing Instruments, 1905–2005.”
adding material (Fig. 1). Increasing the surface area of the nib, will create
These historical surveys about pens got me thinking about why the
more surface tension to hold ink. Such tinkering eventually leads to the
Cantor Lectures were important, and that a summary of the lectures may
creation of the idea of a feed. Mostly, over- and under-feeds and some-
be of some interest to our members.
The three part lectures, covering some 67 pages, were printed
in the Journal of the Society of Arts, Vol. LIII in October, 1905.
The lectures were reprinted serially in a number of issues in the
Pen Fanciers newsletters beginning in November 1980. Lecture
I covered early writing implements through steel nib dip pens,
Lecture II covered stylos and the making of gold nibs, and Lecture
III covered fountain pens. What Maginnis offers us is a snapshot
of the state of knowledge about pens in 1905. Doing his research
decades before anyone decided that pens were worth collecting or
of intellectual interest, Maginnis examined the available literature,
museum displays, took field trips and most important to him,
researched the British Patent Office records. Throughout these
lectures there was a sense of exultation about the grand advances
made in the world of writing implements, a world where anyone
could own and write with one. Add the advent of inexpensive and
accurate timepieces, and there is something about 1905 that is not
unlike our digital age.
Maginnis begins his first lecture with an overview of early writing
implements. Many of us, are familiar with this part because it covers
the same territory as many later books on writing instruments. But
Maginnis was probably the first one to pull much of the information
together. Starting with the stylus and tabula, he reviews the reed pens
and quills. After a section on Japanese brush pens and portable ink
sources, he returns to the manufacture of quill nibs used in holders,
and then to Charles Goodyear’s attempt to produce a hard rubber
nib. Finally he returns to the topic of the lecture: steel nibs.
There are records of metal nibs going as far back as the fifteenth
century, yet the successful manufacture of steel nibs takes place in
England during the period 1780–1830. Several pages of Lecture I are
Fig. 1. A variety of dip pen nibs showing nib resevoir designs.
devoted to the manufacture of steel nibs during Magninis’ own time, taking a
times both were attached to steel nibs. During the 1880–90s, while steel
paragraph or more to describe each step of the process. In Maginnis’ day, the
nib makers were attempting to increase the ink capacity of the nib, stylo
city of Birmingham used 28 tons of steel each week to produce 36,000,000
makers and fountain pen inventors were coming up with their feeds, as
(that’s right, 36 million) nibs. While steel nibs are far superior and longer last-
well. We don’t know who influenced whom, or how inventions in one area
ing than any earlier non-metal nibs, the problem with dip pens is, of course,
triggered developments in another. In the many clever designs covered by
40
summer 2006
The pennant
applied to the needle that extends slightly beyond the end
of the sleeve. Thus, Cross became the first of many commercial stylo manufacturers.
The next phase of stylo design came quickly in two areas:
first tipping material for the needle and sleeve, and, second,
regulating air flow. Precious metals like gold and platinum
were added to the tips and in 1885, iridium. A ball point was
tried in 1888 and 1891, with the result that the large size of
the ball prevented using these pens for fine writing (Fig. 3).
The other issue was air flow: ink blobbing would occur if
Fig. 2. Mabie Todd & Bard and Cross stylos.
air could only enter the reservoir through the needle sleeve.
Lacking an air channel feed, stylo inventors tried either automatic or adjustable air valves of one kind or another.
By 1905, Maginnis could describe ten or so stylographic pens that were commercially on the market (some
are shown in Fig. 4). In introducing those models along
with their individual merits, Maginnis makes the claim
that stylos are the wave of the future. Stylos at that time
were much cheaper than fountain pens, and the fine lines
allowed the ink to dry quickly. What he really liked was
that they were much smoother than nib pens. He likened
Fig. 3. Loud's design for a ball-pointed stylo, 1888.
them to writing with pencils; hence, the name that was
Maginnis (including one that looks very much like a rudimentary foun-
certain to be common during his time, ink pencils. It would not have
tain pen feed), is a Parker-look-alike, a dip nib inside a hood. In the end,
surprised Maginnis that beginning in the 1950s, the same argument
as industrial societies created greater daily mobility and portability, and it
would be made about the ballpoint and in the end, the Bic pen would
seemed that self contained ink instruments were going to carry the day.
triumph over fountain pens.
A week later, Maginnis delivered his second lecture on stylographic
Like any techie, Maginnis enthusiastically describes the mechanical details in
pens and gold nibs. He noted that a very simple idea for a reservoir
the Stylos of his day, although a few of them were, at best, clunkers. For example,
pen would be to draw out a glass tube to a fine hollow point, fill it with
the Wilson Stylus was first made in 1880 using hard rubber for the body and
ink and cork the larger end. The difficulty in such a
design is that any change in air pressure inside the
tube, such as body heat, would cause ink to flow out.
Moreover, writing with such a pen (assuming a well
insulated design) would result in a gradual loss of
ink flow followed by a blob when air enters the tube
to replace the expelled ink. Pen designers in 1905
were aware of the flow problem with reservoir pens,
a problem that would continue to plague pens using
sacs, pistons and (today) cartridges. However, a pen
with sufficient insulation and well designed feed will
solve the flow issue.
According to Maginnis, the first of the stylos was
indeed a tube, and in 1875 Mackinnon designed a
wire feed that used a valve. So began the era of the
ink pencils. A.T. Cross designed one in 1878 (US
patent, 1879 for England) with a metal needle
attached to a floating valve, seated inside a section
with a metal sleeve (Fig. 2). A spring keeps the needle/valve in the shut off position until pressure is
The pennant
summer 2006
Fig. 4. Stylograph pens by, from the top, Wilson, Muttner, Cross and Perry & Co.
41
Coming in the
next issue of
The Pennant
Fig. 5. The Livermore and Riverside stylos.
nickel or gold plate for the metal parts. In its day, it sold for about 50 cents, or
The Art of Maki-e
Maki-e, an Artist’s Perspective
roughly $10 today. While cheap for a pen of such quality, the problem was that
it tended to leak (we all know about that problem) and the tip wore out quickly.
Maginnis used a Cross stylo for many years and one of his favorites was the
Pen Collecting in Japan
Livermore, which was designed and made by C.W. Robinson in 1868, and made in
the 1880s with a gold needle inside a gold sleeve set in platinum (Fig. 5). The Nota
Bene, made by De La Rue, is important because it incorporates an air channel in
Cryptopenology IV, continued
the section, not unlike the later technical drafting pens (Fig. 6). An air vent with
ink shut off valve is incorporated at the top of the pen. The result is that air pressure inside the reservoir is always at a constant level. Despite his enthusiasm for
History of Parker Pen Co., III
the stylo, Maginnis realized that the purpose of his lectures was not to advocate a
specific kind of pen. Besides that, the stylo writing without any line variations goes
against the writing style of his time.
Maginnis then turns to the making of the gold nib. Quill nibs wear
out quickly, steel nibs corrode and while gold does not corrode, it is relatively
Sheaffer Taxonomy 1948
A Brief History of Writing
soft. According to Maginnis, John Issac Hawkins attached a piece of iridium
to a gold nib in 1822. If I read Maginnis correctly, attaching iridium did not
immediately create a working nib. After some 30 years of experimenting with a
Swanee Pen Shop
variety of hard materials, Hawkins discovered a means of shaping the iridium
using diamond dust on a high speed lathe.
Toolmaker’s Journal II
…and much more
Fig. 6. De la Rue's Nota Bene stylo.
The commercial manufacture of gold nibs was developed in the U.S.,
with the result that by 1905 many of the gold nibs in the world came from
America. At the invitation of Evelyn De La Rue, Maginnis visited the nib
making facility of Mabie Todd. The concluding section of Lecture II is a
Contributors Wanted!
Have you been thinking about writing an article
about vintage fountain pens?
Have a great photograph you'd love to share
description of how gold nibs are made. Maginnis devotes all of Lecture
with your fellow pen collectors?
III to fountain pens, and I will cover that in the next issue of The Pennant.
We'd love to hear from you.
Meanwhile, good pen hunting.
Contact the Pen Collectors of America at
[email protected]
42
summer 2006
The pennant
Palmer, Continued from page 38
simple, much more elaborate rather than practical, to many a writer
The Palmer Method rose to prominence because of its simplicity, relative
of our own time. Even those who endorse Palmer, use Palmer, love
to other methods of the time, and because it provided thorough training and
Palmer, and want to teach Palmer till their dying day must, if they
customer service. The Palmer Method fell from prominence because it did
really do claim to follow Palmer and his standards for handwrit-
not remain responsive to the needs of its students, teachers and administra-
ing, face the fact that Palmer wouldn’t have regarded their teaching
tors. Many today, like Palmer in his day, aim to promote better handwriting.
as Palmer Method unless they had taken and passed a course either
Those who share this desire may wish to emulate what led Palmer to hand-
from Palmer himself (long impossible) or from his corporate trainers
writing success and avoid what led the company to its eventual failure.
✍
(almost impossible within the near future, absolutely impossible once
the last surviving Palmer Company staffer lays down his or her pen).
Times change and the world moves on. Though handwriting will
never die, to the once-vast enterprise of Palmer and his Method we
Photos by Jim Mamoulides.
must soon expect to write a (graceful and legible) “R. I. P.”
Vintage advertising images provided by Sam Fiorella.
Palmers For everyone
The pennant
summer 2006
43
The Bookworm
A Book Review
by Tom Rehkopf
Parker Duofold
David Shepherd and Dan Zazove
Surrenden Pens Limited, Brighton, UK, 2006.
$80, 362 pages.
If you were going to write a book about what is argu-
very much a family-owned and family-run business during the
ably the quintessential iconic pen of the fountain pen Golden
1920s and 1930s, and the fortunes of the company, epitomized by
Age, a good strategy would be to pick a successful author and
the Duofold, depended largely on the actions of the family mem-
give him access to the company archives and personal papers of
bers who ran the company at the time. There is a wealth of never-
the manufacturer. That is exactly the approach used in creating
before-seen material in this chapter, including a section on George’s
the just-released Parker Duofold. David
son Russell, who died in 1933 at the age
Shepherd (co-author of Parker “51”)
of 39. In this chapter, as well as through-
teamed with fellow Parker collector and
out the book, are excerpts from Kenneth
author Dan Zazove to produce what
Parker’s journal chronicling key events in
has to be considered the definitive book
the company’s history (Sample: “May 5-
on the Parker Duofold.
6, 1931 – Flew to Ft. Madison. Long talk
The Duofold catapulted Parker
from a small regional pen manufac-
having very tough going too…”).
turer to a leading national and inter-
In addition to comprehensive cover-
national enterprise, a position it still
age of the many versions of the Duofold,
holds today. Since its introduction
the book clears up (well, almost clears up)
in 1921 there have been hundreds of
some of those questions that always seem
variations on the Duofold design, and
to come up in Duofold discussions. Was
the pen is still in production today.
there really a Pompeian Brown Duofold?
Shepherd and Zazove begin by
(Not really – Parker manufactured a small
describing the early years of the
number of Duofolds with a lower concen-
Parker Pen Company, including the
tration of red pigment that advertisers
development of the Lucky Curve feed,
called Pompeian Brown). How did the
the Black Giant, the Snake Pen and the Jack Knife Safety
Duofold get its name? (Nobody knows for sure). Was there ever a
pens. Then follow two major chapters on the design and
two-tone Duofold nib? (Yes, but only for a short time). Were any
development of the various Duofold models from 1921-1935.
Duofolds ever made with transparent Bakelite barrels? (Yes, but
Curiously, the 1939 Geometric (“ Toothbrush”) Duofold, the
only as salesmen’s demonstrators).
1940 Striped Duofold and the 1970 Big Red ballpoint pens
This is a very visually-oriented book, liberally illustrated with
are covered in the “Duofold 1921-35” chapter rather than in a
pictures, graphics, ads and reproductions of a wide range of mar-
separate section. Next follow chapters on the Duofold market-
keting materials. The layout and design are excellent, and it is
ing program and the English Duofolds made from 1941-1963.
possible to pick up the book and turn to just about any page and
The book closes with two chapters on “Late Duofolds,” start-
begin reading without feeling you need to have read the previous
ing with the 1987 Centennial and finishing with the newly
20 pages. Parker Duofold is thorough and well-researched, and the
released Ace Duofolds, which include the Duofold Check col-
material is presented in an engaging, informative style. If you are
lection and the solid gold Presidential Esparto.
a Duofold collector (and what collection is complete without at
One interesting feature of the book is a complete chapter
devoted to the Parker Company and the family itself. Parker was
44
in AM with Sheaffers Sr. and Jr. They are
least one Duofold?) this book will quickly find a home on your
bookshelf next to your most valued pen books.
summer 2006
The pennant
Green, Continued from page 21
Consider the green ink used since 1862 to print U.S. dollars, often termed
• For cover letters or taxpayer correspondence ... “Sponsors will be
issued a number that must be written on every application in green ink
“greenbacks.” Recently a new currency design has been issued in some denomi-
on the upper left...”
nations, but the ink formula invented in 1857 by Thomas Sterry Hunt has
• Multiple check payments “are identified by writing in green ink the let-
been in use for over a century. At the time, Hunt was the staff analytical chem-
ter "M" and the total number of checks involved on the top left corner of
ist of the Canadian Geological Society and a professor at McGill University
the check…”
in Montreal. The green ink of his invention (chromium sesquioxide, aka
Now, when we get to the subject of tattoos, it really gets interest-
chromium trioxide), made counterfeiting largely futile because this green ink
ing, at least more so than taxes. Remember those tattoos with “Mom”
could not be ruined by acid, base or other agent, or copied by photography. I
inside the heart, often seen on the most grizzled military types? If
do remember hearing of some enterprising high school students who made
you contemplate getting one of these and might consider removal at a
unsuccessful use of a scanner to reproduce these greenbacks.
future time, make sure that it’s a nice red heart with a blue arrow. The
I found that baseball mitts with green ink markings played a role in
lasers that break up the ink into tiny particles are especially effective on
literature. In Shoeless Joe, by W. P. Kinsella, the main character used a left-
black, blue and red inks. Green and yellow will require another laser,
handed fielder’s glove with green ink on it. In J. D. Salinger’s The Catcher
and purple is probably the most difficult color to remove so beware!
in the Rye, the character of Allie Caulfield had poems written in green ink
on his baseball mitt (also left-handed).
For those of you involved with politics or the media here is a green ink
The late L. Ron Hubbard, of Scientology and Dianetics fame,
directed his Communications Office Policy letters were to be in green
ink on white paper.
idiom you will recognize. The term “green-ink letter” or “green-ink brigade”
Who at some point in their life hasn’t wanted to be an international spy
is sometimes used to describe a letter writer who feels he or she is a victim
along the lines of James Bond? Then you had better decide right now on
of some injustice or wishes to complain about an organization or political
your signature ink color. Sir David Spedding, once the head of Great Britain’s
entity. The eccentricity of individuals using green ink is referred to in Carl
famous MI6 and head of the service in Whitehall, would sign his secret
Sagan’s book The Cosmic Connection (1973) and Kingsley Amis’ Lucky Jim
memos to the Queen with a single letter in green ink – “C.” The legend claims
(1953). Among the British Press, legend has it that fanatics tend to write
that C was the only person permitted to write secret memos in green ink.
in green or purple ink. I often write with both green and purple, avail-
Proceeding further back in time to ancient Greece, we discover that in
able with exotic names and in numerous brands. I suppose we fanatics are
Athens, if the emperor was underage, his guardian used a green ink for writing
quite the consumer group.
his signature. Evidently there were specific rules for red ink as well. Imagine an
Did you ever wonder if a famous person you admired favored the same
ink color for your signature alone that no one else would be permitted to use!
ink as you? Auctions for manuscripts and letters with famous signatures
Even in the Harry Potter books mention is made of ink color. In the first
abound in cyber-space. I found it interesting to note the various ink colors of
volume Harry Potter gets a letter with green lettering and a purple seal. (It
signatures in recent auctions, but here are a sampling of the ones in green:
could have been written by the emperor’s guardian.)
• Ginger Rogers, Fred Astaire's dancing partner and Oscar winning
Interested in the modern versions of green? Noodler’s has a “Hunter
actress: Signed contract and addendum in green ink; typed letter from
Green” ink which is labeled as “bulletproof,” meaning that it is waterproof and
1953 signed in green ink.
permanent, for those words you want to endure forever. This is a conserva-
• A letter by author Jack Lindsay to Patrick Greenland discussing the
tive deep green, not bright or brash. There is also a formula designed to keep
release of his new books: “Yours sincerely” and the author’s signature in
piston fillers operating smoothly, in the exceptionally bright “American Eel
full, written in green ink at the bottom of the page.
Gruene Cactus” shade. And for highlighting, there is “St. Patty’s Eire.”
• Lord Richard Mountbatten: A letter signed in green ink, 1957.
Private Reserve has recently released a green ink produced for the 2006
• Martin Heidegger: A full page letter in green ink, 1947.
Washington DC Fountain Pen Super Show. This ink has a Neutral Ph and
• George M. Cohan, 1942, American actor, playwright, composer, and
aptly enough is labeled “Washington DC Supershow Green.” The other
producer:Typed letter, signed in green ink.
shades range from the deep Sherwood Green to the light, airy, Foam Green.
• Dashiell Hammett, the crime novel author (The Maltese Falcon, The Thin
Both brands, along with numerous others, can be viewed on online ink color
Man): A set of love letters to his lady love written in 1921 in green ink. (These
charts at www.pendemonium.com.
were not available at an auction, but belong to a family member).
As you can see, a simple search turned up all sorts of useful information
• A Rare Louis "Satchmo" Armstrong four page typewritten letter dated
to impress friends with at social gatherings. This same time-dissipating, yet
February 9, 1952: signed in the green ink Satchmo favored.
educational experience may be repeated by substituting the green with red, or
Let us return to a more serious usage of our chosen color. If you were
reviewing the Internal Revenue Manual you would anticipate only mention of
blue, or even purple. For fans of obscure knowledge, ink color trivia can be a
rewarding project.
✍
red or black, but I actually uncovered specific instructions regarding the use
of green:
The pennant
summer 2006
45
PCA
2 0 0 7 B OD E l e c t i o n
Board of Directors
Voting instructions can be found on page 3.
Melinda Adams
of other brands of pens, such as the Sheaffer PFM, Wahl Doric
I have read the conditions related to becoming a Board member,
and Conklin Crescent. I love Parker ephemera — I have items
and I have no problem with them. I understand that the position
that range from an 1930s art deco Parker display case to a slab
is voluntary, and I would be happy to work with any member in a
of Parker Pen chocolate. My pens come from every era, from
committe or board position.
eyedroppers to modern pens. I attend two pen shows each year,
I have been a pen collector/accumulator for over 25 years. I have
and may be able to attend more.
thousands of pens buy my joy beyond collecting them is related to
I am married with two grown children and a granddaughter.
the stories that always arise from a find or a purchase. I have made so
I live in Illinois and work as Technical Support Manager for
many good friends.
a software company. I previously worked in media and public
I am currently editing articles and issues of The Pennant, and I am
relations for 30 years, including 18 years with the local news-
quite comfortable with getting the work finished on time. I know that
paper. I implemented their Newspaper in Education program
was a serious issue in the past. I am hoping to remedy that.
for the public schools. I have experience coordinating events
I am, or was, an Assistant Professor of English at Ball State
University. My doctorate is Twentieth Century British Literature.
and working with volunteers. My experience includes teaching,
fundraising, sales, and serving in public office.
I earned it in 1991. I taught there for 14 years, mostly fresh-
As you can see I have a variety of experience to bring to the
man comp and rhetoric and 101 Literature. My skills are editing
PCA board. I look forward to filling whatever role best fits my
and writing, and I think I may have some ideas for focusing The
own interests and the needs of the organization. I am especially
Pennant. Having worked at a university, I am familiar with com-
interested in the Pens for Kids program. Earlier this year, I was
mittees. I can be outspoken, but never mean. If I have ideas that
showing my six-year-old granddaughter pens from my collection
will help make the PCA outstanding, I will speak them.
and was thrilled when she asked to write with one of them. We
I am familiar with most of the current Board members, and
need to grow our future collectors, and this is a great way to start.
I enjoy them all and their ideas. I would hope that they feel the
same about me. Thank you for considering me.
Linda Bauer
I am delighted to be considered for the board of the Pen
Collectors of America. I believe I could make a contribution
to the organization by helping to promote pen collecting and
cultivate new collectors.
I have been collecting fountain pens for more than 20 years, but
my love of fountain pens dates back to the 1960s. I used a fountain
pen in high school because ballpoint pens of the time skipped and
blobbed. I loved the smooth, even flow of ink from my fountain pen
on paper. I always had ink stains on my middle finger.
In the 1980s I got a couple of new fountain pens as gifts. I
started buying new pens. Eventually I had about 14, so I guess
that was the start of my collection. Then one day I saw some
old pens in an antique store. I didn’t know such things existed.
That did it — I began to collect vintage pens. I primarily focus
on Parker and Esterbrook, though I have representative models
46
DENNIS BOWDEN
I like to describe myself as retired (U.S. Postal Inspector);
Semi-retired (Criminal Defense Attorney); and just plain
tired (owner/operator of Parkville Pen on the web selling
fountain pens).
I have long been a fountain pen lover and user, but only
became involved in collecting about 4 years ago. My collecting interest centers around vintage hard rubber pens, primarily
Waterman, and more recently Kraker pens and the history of
the Kraker Pen Company and the life of George M. Kraker.
I recently authored an article on my favorite modern pen, the
Sheaffer Connaisseur (included in this issue of The Pennant). I
have been a member of PCA for 3 years.
My wife and I live in Parkville, MO, a Kansas City suburb, where I run Parkville Pen from our home.
My reason for agreeing to stand for the Board is to be
able to give back to the hobby and hopefully to aid in the
growth and development of the PCA.
summer 2006
The pennant
PCA
2 0 0 7 B OD E l e c t i o n
2007 Nominees
Dan Carmell
Since retiring from state government in 1999, I’ve been operat-
Member of the Pan Pacific Pen Club since 2002, Club President
ing, along with sister Sherrell, Inkpen (and its Eastern Subsidiary).
in 2005 and 2006. Volunteer at the San Francisco Pen Show
In addition to fountain pens, my interests include model trains,
in 2003 and 2004. I’ve worked Susan Wirth’s tables at two San
bridge, pocket billiards, poker, auto cross and rallies.
Francisco shows and 2006 in Los Angeles, so I’m battle hard-
Why do I want to serve on the PCA Board? It seems to be
ened! While I love hard rubber eyedroppers, my main collecting
a part of my make-up to pitch in where and when I can and
focus seems to be on post-WW II Parkers, especially the Parker
a part of this is serving on boards and committees. I have no
45, which is the only model I’m currently systematically collect-
illusions that this is a plush position that will bring fame and
ing. I live in San Leandro, in the San Francisco Bay Area and
accolades. All boards are work, and I feel that I can contrib-
am an office worker, a database administrator, by profession, but
ute energy and a background that incorporates the ability to
I am also responsible for some volunteer and fundraising coordi-
hear and be heard while representing the interests of others.
nation. I have a background of involvement with volunteer and
I intend to be active and to hear the membership and trans-
non-profit organizations.
late the wishes of the collective body into doable projects. The
PCA Board has done a great job of moving the organization
Stephen H. Corn
forward since I began my term of office and I’d like to lend a
I have been a collector all my life from stamps and coins start-
hand and continue promoting and executing its goals.
ing at six years old to fountain pens starting in the fifties.
I’ve served on nonprofit local, state and national boards and
 I collect Parker Vacumatics and button fillers, coral col-
committees throughout my adult life, holding offices in most
ored Mont Blancs and Pelikans.  Plus a smattering of whatever
of them. I continue to be active with the Associated Marine
else hits my fancy.  I have over 500 pens in my collection plus
Institute, a national nonprofit organization that operates rehabili-
many “mistakes” that are for sale.
tative facilities throughout the U.S. I have also served as a con-
 My profession is a General Contractor which I have been
sultant to the National Institute of Justice.In addition to running
since I got out of the Navy.  I also, on the side, designed jewelry,
Inkpen, Sherrell and I also consult in human resources and small
had a retail jewelry business, cabinet business and have been a
agency management.
director on many local and some state and national Boards such
as an insurance company, building associations and hospital
AnnMarie Hautaniemi
board. I feel my experiences in life will allow me to assist in
I strongly believe that you should give back to the community
guiding the PCA to even more success.
that supports (or has supported!) you. Although I have closed
Ink Palette, the pen community is still near and dear to me.
Joel R. Hamilton
EDUCATION
The PCA is an intregal part of that community.
In November of 2004 when we were “sworn in” as it were as
B.A. Psychology
the current board, I volunteered to take over the responsibil-
M.A. Psychology, Counseling and Guidance
ity for the PCA table at the pen shows. Since I am no longer
EXPERIENCE
attending all the shows, Terry Mawhorter has taken on the “on
I worked for the state of New Mexico in corrections, crimi-
the ground” responsibilities, and I continue to coordinate with
nal and juvenile justice for 25 years. During that time, I was
him. I have also been working with Roger Wooten (Treasurer)
a probation/parole officer, deputy warden of an adult facility,
on the maintenance of the membership list. Both of these
and deputy director of operations for juvenile justice services
areas are works in progress, and although a great deal of prog-
in the state, and managed the daily operations for 33 proba-
ress has been made, I think continuity is important until we
tion/parole offices and 10 facilities.
have easily transferable systems firmly in place.
The pennant
pennant summer
summer2006
2006
The
47
PCA
Ohio Pen Show
Board of Directors
I worked for Art Brown and then Koenigs in the late 80’s,
completing arrays of a specific make, model or type of fountain
then Michaels in San Francisco through most of the 90’s (where
pen. Perhaps the term “accumulator” still applies—I buy what I
I picked your brain for vintage knowledge). In 1997 we started
like at the time, whether or not it fills a certain niche in my pen
Ink Palette, closing it in 2005 due to personal reasons. As a
holdings. And I have always gravitated toward the less expen-
retailer and collector dealing with both vintage and modern
sive to moderately priced (and sized) pen lines, whether vintage
pens, I think I have a broad view of the interests of our com-
or modern. So I think of myself as someone who is typical of a
munity. I would be honored to continue to serve on the PCA
segment of the pen community that isn’t always immersed in pen
Board of Directors.
Arcanum, and doesn’t have big bucks to spend on fancy limited
editions or Waterman 58s.
Stuart Hawkinson
For these reasons, I do see a need for the PCA to reempha-
Stuart Hawkinson, Portland, Oregon, has been a PCA member
size its value to the “middling” or even the budget pen person,
for 14 years, attending his first pen show in Los Angeles in 1992.
one who enjoys using them and may or may not have an interest
Stuart is a regular exhibitor at many of the US pen shows. Besides
in classic vintage pens as we know them, but is potentially open
restoring and selling vintage pens and pencils, his collecting inter-
to widening their horizons. The PCA might find it worthwhile
ests include Eagle Pencil Company writing instruments and related
to support those who purchase modern pens (which will eventu-
products, R. Esterbrook pens of any sort, demonstrator pens and
ally become ‘vintage’) and to continue encouraging those of the
pencils, pens with interesting filling mechanisms, and early ball
younger generations that pens are “cool” in their own way, even
point pens. Stuart has been active in the local Portland PDX pen
if they lack an embedded IC chip! Hence, I would be inter-
group, teaching informal pen-repair classes, and supporting the
ested in serving on the Education and Pen Shows committees
Portland Pen Show each year.
as a part of Director duties for a period of the next year or two,
but would welcome suggestions for further activities and ideas
Bill Hong
to pursue.
With respect to qualifications, I’ve been an active vintage pen
48
collector/user for more than a decade, and a modern pen col-
Bruce Mindrup
lector/user for more than twice that many years—though in
I am truly flattered and honored to have been asked to submit
fact I’ve used fountain pens since grade school days with no real
my name as a candidate for the P.C.A. Board of Directors. I
interruption. So they are a truly a habit as well as a hobby!
have been a PCA Member since 1997. Two years ago, with the
With regard to the PCA, I’ve been a member since the late
help of several other ‘pen enthusiasts,’ helped to form The St.
90s, and have contributed a couple of short articles in that time
Louis Pen Club. The Club meets four times a year to promote
to The Pennant.I’m also a regular (if not always active) mem-
the social and collecting aspect of both new and vintage pens. I
ber of internet mailing groups such as the Zosslist, and have
regularly attend the Chicago and Ohio Pen Shows, and hope to
also written for online magazines such as Stylophiles. I’ve done
attend more shows in the future.
some behind the scenes repair work over the years, and still
My initial introduction to ‘pens’ were those 1960’s era “car-
do, though mostly for myself and for friends rather than as a
tridge” pens. My first ‘real pen’ was a ‘dinged’ and well used
money-making enterprise.
Parker ‘51 that saw action during World War II with the 8th
As a materials engineer by training, I’ve always been inter-
Airforce in England. The pen was a gift from a very special
ested in the decisions companies make in what materials to use
friend on my 16th birthday. It continues to be one of my most
to craft their pens, and how that affects a pen’s characteristics
special pens.When not talking pens, I spend time with my wife
and writing qualities. Nevertheless, I don’t consider myself a pen
Kathy and my children. I am in private practice and provide
“collector” in the classic sense, in that I have not concentrated on
Counseling, Evaluation, and Mediation services to children,
summer 2006
The pennant
PCA
20
7 iB P
OD
ec
n
M
i a0m
e nE lS
htoi ow
2007 Nominees
families and adults. I also serve as an Adjunct Professor for
board and as vice president, he is Librarian for the PCA. In a previ-
The Union Institute and University where I teach courses in
ous life he worked for Sheaffer Pen Company for 12 years, ending his
Psychology and Social Work.
career as Manager of Sales/Marketing Support Services. A plodder
If elected to the Board, I will work to promote ‘service’ to all
Members of the pen community. In addition, I will work to con-
more than a spark plug, Dan wants to stay around this one last year to
help establish a full fledged program for Pens for Kids.
tinue to promote school and community activities that will help to
promote a new generation of people who love and appreciate pens.
Chuck Stoops
Whenever I join a club or organization I usually volunteer to be
Rick Propas
on a committee or run for office. I do not have a “Let George
I am honored to have been nominated to the Board of Directors
do it” attitude.
of the Pen Collectors of America.
Particulars. I am a 73 year old retired chicago police officer.
I have used fountain pens for more than forty years and
My wonderful wife, Rosie and I have been married for 50 years
have collected pens since 1984. My collection focuses primar-
(anniversary occurred in middle of the Chicago pen show may 6th)
ily on vintage Parkers and Pelikans. I have been active in the
she insisted that attend the party rather than the pen show on
pen community since the 1990s, having helped found the Pan
Saturday only.
Pacific Pen Club. I also served as editor of The Pennant and
We have seven great kids and fourteen grandchildren.
am proprietor of The PENguin, selling new and used fountain
As to qualifications. I have been the president and treasurer
pens. When not collecting, I teach American history at San José
of a Chicago area fly tying and fly fishing club, an affiliate of the
State University. I have written on pens at both the popular
international Fly Fishing Federation (F.F.F.) I do believe that
and scholarly levels.
this experience will be very useful to the PCA, should I become
I believe that the PCA should play the leading role in our
community. In addition to the publication of The Pennant and
maintenance of the Library, PCA should actively serve the com-
elected.
I get along with the computer, but sometimes it is recalcitrant, seems to have a mind of it’s own.
mon interests of all who love pens, from seriously committed
I have been a pen accumulator for a couple of years now but
collectors to casual hobbyists, as well as those who buy, sell
I find my interest turning to pencils. I would like to be able to
and trade pens at all levels. Acting with balance and perspective
repair them. Good instruction books on pencil repair are almost
PCA can and should be all things to all people.
non-existent. I will keep after the pencil work as they are what
To do this, PCA needs an activist board, one that is willing
to put aside personalities to work in harmony for the good of
the hobby. In addition, the organization should in all aspects
be open and transparent.
If elected to the Board, I will operate in accord with these
principles on behalf of those who have entrusted me and my fellow board members with the present and future of our hobby.
started a life long love affair with all things writing related back
in the 40s when I was a high school student.
I have never joined a club that I did not eventually become
an officer, usually president. I have experience in running things,
serving on committees, organizing shows, speaking before an
audience, making reports etc. At an international level.
I have found that if you look at it as fun, it usually is. If you
can use me I am here to help.
Dan Reppert
Dan Reppert, current vice president of Pen Collectors of America, is
seeking one last one-year term. It is his hope to really get the Pens for
Kids program up and running. Dan collects off-brand Sheaffer products such as Craig, Univer and WASP. In addition to his duties on the
The pennant
pennant summer
summer2006
2006
The
49
PCA
Notes
From the President
A new year, new people, new friends
I
I’m very pleased to be sending this message about the P.C.A. and what’s in store for the years to come.
New Board members will be elected soon and I urge all of you to vote. A new P.C.A. President will be
chosen at the Board of Directors meeting during the Ohio Pen Show in November. I look forward to
helping with the transition.
I can’t say enough about Jim Mamoulides, our new Editor of The Pennant. Jim took on a difficult job and began getting
things done from the moment he started. I hope all of you are enjoying the content and pen knowledge that The Pennant is
bringing to you. After more than thirty years of pen collecting I can’t get over how much I still have to learn.
We’ve lost several good hobby friends during my time in office. I’ve had the pleasure of knowing each of them.
Now they’re off to a new realm of collecting.
The Internet continues to be a source of great and not-so-great bargains. Despite this, pen shows continue to be
a wonderful source of great pens for me and I’ll bet for you too. Absolutely wonderful things continue to turn up at
shows, including never before seen pens and ephemera. If you’re not there you’ve missed your chance. Shows are also
the place to meet some of the nicest and most knowledgeable people on Earth.
Enjoy this issue of The Pennant, and next time you’re at a non-pen get together, casually bring out a pen and
place it in front of you. Somebody will want to hear a story about that 100 Year, Coral Gold Bond or 14k cap band
Sheaffer, I promise you.
Enjoy the rest of your summer,
Craig
I
PayPal Now Available for PCA Membership
It is now easier than ever to join the P.C.A. You can make
Gift subscriptions are also available for that special pen per-
your choice of a one or three year membership and simply click
son. Indicate this is a gift subscription in your comments and we
on the PayPal button to make your membership payment. Go to
will include a gift card at no additional cost. Your recipient will
the P.C.A. website (http://www.pencollectors.com), click on “Join
receive all three issues for 2006 plus two of the most recent back
PCA,” then “Join Today.”
issues.
Whether you are in the U.S. or anywhere worldwide, you may
With all new membership applications you should complete
now conveniently submit your membership without the expense of
the application form and mail to Pen Collectors of America,
international money orders or bank drafts.
Roger Wooten, Treasurer, P.O. Box 174, Garden Prairie IL
In an effort to attract new, younger members to the P.C.A., we
50
61038-0174.
are also introducing a new Youth Rate. If you are 18 or younger,
New members joining now will receive all three issues of Spring,
your rate is one-half the normal membership: $20 for one year. This
Summer and Winter for 2006 plus two of the latest back issues of
rate is available for U.S. membership only.
The Pennant.
summer 2006
The pennant
PCA
PCA
Local Pen Clubs
Join a club
Looking to network with fellow pen collectors? Check out a local
pen club. Not listed here? Email your club information including
contact name, email and phone number to: [email protected]
D.C. Metro Pen Club
Contact: Harry Shubin • [email protected] • Ph: 703.812.5306
Florida Pen Collectors Club
Contact: Giovanni Abrate • www.tryphon.it/fpc • [email protected]
Kansas City Pen Club
From The Stacks
LIBRARY ADDITIONS
One eBay® gem
by Dan Reppert, PCA Librarian
Well, it’s summer, and what can I say? All the pen people are
either out flea marketing, yard selling/buying or barbequing
Contact: Dennis Bowden • [email protected]
on their fiberglass boats. They sure aren’t in the house study-
Las Vegas Pen Club
ing the complexities of the 1908 Waterman.
Contact: Chris Burton • [email protected]
Ph: 702.610.4045
Long Island Pen Club
Contact: Nancy Handy • [email protected]
Michigan Pen Collectors
I’ve got two interesting stories and an update, so it will be
short and sweet for this issue.
First, John Chapman tried to buy some catalog stuff on
Contact: C. Eric Fonville • [email protected] • www.michpens.com
eBay. Didn’t get it. So he emailed the high bidder and asked
New Orleans Pen Club
if he might borrow the catalogs to scan them. Going one step
Contact: Thomas Bickham • [email protected]
Ph: 225.677.9448
better, the successful bidders, Joanne and Robert Schwartz,
North Texas Fountain Pen Collectors
did the scanning, burned them to CD and sent them to John.
Contact: Lowell Lindsey • [email protected]
Definitely a wonderful gesture on their part. So as a result, we
Ottawa Fountain Pen Society
have a new entry for a set of Baird-North catalogs from 1898-
Contact: George Cornwall • [email protected]
www.ottawafountainpensociety.org
1933, which shows the progression from selling Waterman
Philadelphia Pen Collectors Group
pens to pens bearing their own name. There is some very
Contact: Robert Mand • [email protected]
www.philadelphiapens.com
interesting stuff here, and I do thank the Schwartz family.
Portland Pen Club
Once in a while I get a request for a single item with only a
Contact: Carla Mortensen • [email protected]
couple of pages, typically three–six pages. To me it is real silly
Research Triangle Pen Club
to march down to the copy shop, get the copies made, spend
Contact; Ross McKinney • [email protected] • www.rosspens.com/tripen
htm • Deb Kinney • [email protected]
Richmond Pen Club
Contact: Sam Marshall • [email protected]
St. Louis Area Pen Club
Contact: Bruce Mindrup • [email protected]
or Jake Leventhal • [email protected]
Seattle Pen Club
$.45 for postage and then have the buyer spend $.39 to send
me a $.60 or $.90 check. So I scan them, attach the scans to an
email and suggest the recipient just send an extra dollar when
he renews his membership. Usually what I get is, “Okay.” From
one grateful member I received “I don’t know how to thank
Contact: George Long • [email protected]
Ph: 206.365.5998
you adequately.” Makes the job sort of nice.
Southeast Pen Collectors Club
tures have kept me from doing much to the outside of the new
Contact: Glen Cheatham • [email protected]
Southern California Pen Collectors Club
John King Tarpinian • [email protected]
Fred Krinke • [email protected]
Tampa Bay Pen Enthusiasts
Contact: Ray Roewert • [email protected]
Ph: 727.743.8890
The pennant
pennant summer
summer2006
2006
The
P.C.A. Library building update: 100-degree plus tempera-
little building. First chore will be to remove the white paint.
After that comes some repair to the sunshine gutters and surrounding wood, followed by replacement of one window and
a new trim paint job. At the rate I work, October 2008 ought
to see it done.
51
PCA
Upcoming Shows
Location and dates may be subject to change; please contact the show organizers to verify information below. The P.C.A. keeps
an up-to-date listing of current and pending U.S. pen shows on the P.C.A. website: www.pencollectors.com, courtesy of Susan Wirth.
Little Rock Pen Show
September 16, 2006
Contact: Sam Highsmith
501.231.1005
Dallas Pen Show
September 30, 2006
Holiday Inn, Richardson
Contact: P. Kirby, 972.529.6364 or
Walker 214.943.5675
Ohio Pen Show
November 3-5, 2006
Clarion Dublin 17a & I-270
Contact: Terry Mawhorter
740.454.2314
Philadelphia Pen Show
Raleigh Pen Show
LA Pen Show
Miami Pen Show
Chicago Pen Show
DC Supershow
January 18-21, 2007
The Wyndham Franklin Plaza Hotel
Contact: Jim Rouse
410.539.7367
February 22–25, 2007
Manhattan Beach Marriott
Contact: Boris Rice
281.496.7152
May 3–6, 2007
Westin O’Hare (Rosemont)
Contact: Don Lavin
847.272.2745
June 7–10, 2007
Embassy Suites, Cary
Contact: Terry Mawhorter
740.454.2314
July 5–8, 2007
The Biltmore, Coral Gables
Contact: Jim Rouse
410.539.7367
August 9–12, 2007
Sheraton Premiere Tyson’s Corner
Contact: Bob Johnson 874.963.3834
Show organizers are encouraged to submit show details for this column to the editor.
P. C . A P e n S h o w S u p p o r t e r s
The P.C.A. expresses its gratitude to the sponsors of the following pen shows for graciously donating table space. Thanks for your generosity!
Philadelphia • Bert Oser and Jim Rouse
Miami • Bert Oser and Jim Rouse
Los Angeles • Boris Rice, Stan Pfeiffer, and Chris Odgers
Portland • Carla Mortensen
Great Southeastern • Jimmy Dolive and Boris Rice
San Francisco • Harvey Raider and Detlef Bittner
New England • Rob Morrison
Ohio • Sonya and Terry Mawhorter
Chicago • Michael Fultz, Daniel Zazove, Donald Lavin
Michigan • Michigan Pen Collectors Club
Raleigh • Sonya and Terry Mawhorter
Pennant Back Issues
Back issues of The Pennant are available. Most are photocopies. All are $10 each + $5 postage and handling in the U.S. per order,
overseas postage will vary. All requests for reprints should be addressed to:
Dan Reppert, P.C.A. Librarian, P.C.A. Library, P.O. Box 447, Fort Madison, IA 52627-0447; e-mail: [email protected]
52
1993—March, July, October
2000—Spring, Fall, Winter
1994—February, May, August
1995—Spring/Summer, Fall/Winter
2002—Spring, Summer, Winter
1996—Spring, Summer/Fall
2003—Spring, Summer, Winter
1997—Spring, Winter
2004—Spring/Summer, Winter
1998—Spring, Fall
2005—Spring/Summer, Winter
2006—Spring
summer 2006
The pennant
PCA
Membership
Special MEMBERSHIP LEVELS
President’s Circle Level
Members at special sponsor levels will receive certificates redeem-
$150 per year
able for classified ads and library reprints at time of redemption.
Six issues of The Pennant (two of each issue)
Certificates will be included in Sponsor Packet.
The P.C.A. membership year runs from January–December.
Two free classified ads
Complimentary P.C.A. Lapel Pin
Membership renewal notices are sent each November to those due to
Fifty pages of reprints from P.C.A. Library
renew. If you join the P.C.A. between October 1 and December 31,
Acknowledgement of sponsorship,
your membership is automatically extended through the following year.
each issue of The Pennant
As a current member, don't forget to send any updated personal
Certificate Of Sponsorship
information to [email protected]. If you've moved, changed
Sponsor Level
your name, changed your email, added a FAX line, or made any
$75 per year
other changes, it will not be correct in the listings unless you tell us!
Three issues of The Pennant
We are pleased to offer membership levels with added benefits. As a
Two free classified ads
non-profit, all-volunteer organization, the P.C.A. is only as good as
Complimentary P.C.A. Lapel Pin
the support it receives. Your contributions keep The Pennant arriving
Ten pages of reprints from P.C.A. Library
on your doorstep three times a year, help support the P.C.A. proj-
Acknowledgement of sponsorship in
ects and enable the P.C.A. to continue to grow and improve. When
each issue of The Pennant
you renew your membership this year, we hope you’ll consider one
Certificate Of Sponsorship
of our special new membership levels, which are detailed at the left.
Regular Membership, U.S.
Even if your membership is not up for renewal, it’s easy to upgrade
$40, 1 year; or $105, 3 years
to one of the special membership levels—simply drop us a line or
Three issues of The Pennant
email us at: [email protected]. Thanks for your support!
One free classified ad
Access to library, $.15 per page
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Corporate Sponsors
BEXLEY
STYLUS magazine
2840-B Fisher Street,
Columbus OH, 43204
614.351.9988
Fine Life Media
Suite 2-E, 363 Reef Road
Fairfield, CT 06824
203.259.8100 Fax 203.259.0847
Sanford North America
Parker, Waterman, Rotring, Sensa
2711 Washington Blvd
Bellwood, IL 60104
800.323.0749
Levenger
420 South Congress Avenue
Delray Beach, FL 33445
561.276.2436
The P.C.A. invites pen manufacturers and wholesale pen distributors to be a
Corporate Sponsor of the Pen Collectors of America.
Contact Craig Bozorth for details: [email protected].
The pennant
pennant summer
summer2006
2006
The
53
PCA
Oo
C
hn
i ot rPi beunt oSrhso w
Giovanni ABRATE grew up in
Richard Kaufman has been
Italy in the '50s, when all
a teacher for the past 31
eldest great-grandson of
students used fountain
years and has taught 2nd
George S., grandson of
pens. He moved to the U.S.
through 7th grade for
Kenneth S., and son of
from the UK where he was
Irvine Unified School
Daniel S. Parker. Growing
a test pilot. His first vintage
District. His only joy
up near Janesville, he
pens were Italian celluloids
greater than a new pen
worked summers at
from the '40s and '50s, for
is having a student find
Parker. The most com-
which he still has a predilection. He is a V.P. for
success in the classroom. Other interests
mon dinner table conversations were: pens,
an Italian aerospace company, and markets pen
include architecture and spending time in
pens, pens, and the weather. He is currently the
repair products and modern pens.
the solitude of the desert.
acting official unofficial Parker family historian,
Dennis Bowden, a retired U.S.
Daniel Kirchheimer has
organizing and managing the family’s extensive
Postal Inspector and mostly
been collecting pens for
archives of photos and memorabilia.
retired criminal defense
about 32 years and doing
Len Provisor, an active pen col-
attorney, makes his home
professional repair work
lector since the ‘70s, a
with his wife in Parkville,
for 30 years. He primar-
P.C.A. Moard member,
Missouri. In addition to
ily specializes in dent
and a U.S. rep for the
Sheaffer Connaisseurs, he
removal for Parker “51”s,
Writing Equipm ent
collects hard rubber pens
and he also crafts pur-
Society UK, attends
with an emphasis on Waterman eyedroppers
pose-built pen repair tools as the proprietor
many pen shows and is
and Safeties.
of Kirchheimer Toolworks. He really likes
a frequent reporter for
Victor Chen recently retired from
Sheaffers, and he really hates misinformation.
Pentrace and various pen publications and
his position as Professor of
Jim Mamoulides was initially
books. He collects vintage ink blotters, designs
History at Chabot College.
drawn to fountain pens
modern advertising blotters and manufactures
Chen continues his Tech
through his interest in cal-
pen company aircraft models. He started the
Notes column, a regular
ligraphy, but didn’t become
Chicago Pen Club in 2001.
feature in The Pennant.
an avid collector until he
tom rehkopf is a computer sys-
lost a Montblanc ballpoint
tem architect in Atlanta,
and began a search of pen
Ga . He has written
Rhonda Foster has always
stores and the internet to
several articles for The
loved pens and writ-
find a replacement for it. His interest in the his-
Pennant, and has been
ing. A Peoria flatlands
tory of fountain pens led him to focus on vin-
collecting pens for over
attorney, she considers
tage pens and his articles and photography can
ten years. “My collection
law her job, writing to
be found on his website PenHero.com.
be life. Her collection
david moak remembers Sheaffer
cused,” he says proudly, “except of course for
of pens is eclectic as is
cartridge pens from his
brown Parker “51”s, which you can never have
her personality, marking
remains largely unfo-
school days. His re -
enough of.”
special occasions or achievements.
acquaintance with foun-
Dan reppert collects off-brand
Kate Gladstone teaches and
tain pens came when
Sheaffers such as Univer,
remediates handwriting
h i s w i f e M a r y Ja n e
W.A.S.P., and Craig.
internationally, working
taught him a simple cal-
He is vice president and
and traveling from her
home in Albany, NY.
ligraphic hand. His col-
librarian of the P.C.A.
lection gradually centered on Mabie, Todd
He worked for Sheaffer
(& Bard). He researched and produced
for over 12 years, and is
Mabie in America, the definitive work on
currently involved in his-
the U.S. company.
54
Geoffrey S. Parker is the
toric building renovation in Fort Madison.
Spring 2006
The pennant
PCA
Pen Repair
Pen repair directory
BROADWAY PENS
BRAD KNAPP
456 S. Broadway
Lebanon, OH 45036
Home: 513.932.2220, Work: 513.932.6070
FAX: 513.932.9988
[email protected]
www.broadwaypens.com
Repairs most brands including Parker Button Fill($20) and Vacs($25);
Sheaffer Snorkels($25); Sheaffer and Wahl Plunger Fillers($30).
FOUNTAIN PEN HOSPITAL
10 Warren Street
New York, NY 10007
800.253.7367 • 212.964.0580
FAX: 212.227.5916
Website: www.fountainpenhospital.com
Repairs and restorations for all pen makes, models and filling mechanisms.
THE FOUNTAIN PEN RECYCLER
MIKE CARTER
MAIL: P.O. Box 28083
Store: 7000 57th Ave. N., Ste. 103
Crystal, MN 55428
Home: 763.434.7921 Work: 763.535.1599
FAX: 763.535.1892
Repairs to all makes and models.Repairs on most vintage pens, including
Sheaffer vacs–fast turnaround, excellent communication.
INKPEN VINTAGE FOUNTAIN PENS
JOEL R. HAMILTON
1602 Arizona Avenue
Alamogordo, NM 88310
Phone: 505.437.8118
SHERRELL TYREE
10009 Roe Avenue
Overland Park, Kansas 66207
Phone: 913.642.3216
Website: www.ink-pen.com
Repairs on most vintage pens, including Sheaffer and Parker Vacs, PFM’s,
etc. Excellent communication and all work is guaranteed. “Your Pen Is
Our Priority”
The pennant
pennant summer
summer2006
2006
The
PEN HAVEN
BERTON A. HEISERMAN
Louis wofsy
3730 Howard Avenue
Kensington, MD 20895
Home: Berton, 301.365.4452; Louis, 703.323.1922
Work: 301.929.0955 Fax: 301.365.4750
Website: www.penhaven.com
Email: [email protected], or [email protected]
Specialties: Total restoration to all models. Plastic crack repairs. Replace
bands, rings and crowns, Waterman 100 Yr. barrel ends and cap-tops.
Plating.
PENOPOLY
ROGER CROMWELL & VICTOR CHEN
1271 Washington Avenue, PMB 598
San Leandro, CA 94577
Website: www.penopoly.com
Restoration and repairs on all makes and models.
RICHARD BINDER
31 Fairmount Street
Nashua, NH 03064-2523
Phone: 603.882.5384
Website: www.richardspens.com
Expert, respectful repairs on modern and vintage pens, including celluloid and
safe reblackening of hard rubber. Nib adjustment and repair, retipping and
regrinding, custom modification including adding or increasing flex.
THE SOUTHERN SCRIBE
RICK HORNE
1868 Mt. Meigs Road
Montgomery, AL 36106
Home: 334.263.4169 Work: 334.263.4169
FAX: 334.263.4169
9 a.m. to 5 p.m. CST Monday thru Friday
Website: www.thesouthernscribe.com
Expert repair on Eyedroppers to Snorkels, difficult & unusual repairs
including cracks, goldplating, black hard rubber color restoration, mother of
pearl and abalone panel replacement. Now re-tipping nibs.
Y
Advertise your pen repair service in The Pennant’s Pen Repair Directory.
Your listing reaches nearly 2,000 members three times annually. $75 for
three consecutive issues. Mail, fax or email your listing. Please include
your name, address, phone number, e-mail and a brief description of your
repair services.
P.C.A.—Pen Repair Directory
P.O. Box 447, Fort Madison, IA 52627
Fax: 319.372.0882 or email: Terry Mawhorter,
AdvertisingManager, [email protected]
55
P. C . A .
PCA
Contributor guidelines
Board of Directors
The Pennant invites you to submit articles of interest to the P.C.A. membership.
Contributions should be submitted as email attachments, on floppy disk or on CD, using
standard word processing software.
Articles: We welcome articles dealing with pen collecting, writing instruments, pen manufacturers, ephemera, news about your recent finds, and Letters to the Editor. The Pennant
Author’s Guidelines document is available upon request, and members of the editorial
staff and P.C.A. Board are available to assist you. Submit your article in your Microsoft
Word. Please do not use auto-numbering or imbed your images in your text file.
Illustrations/Photos: When submitting images, be certain that they are scanned at no less
than 300 pixels per inch. Photos look best on a non-reflective white background (lucite is
good and foam board works well). Images may be submitted as email attachments or on
CD as JPG images. We cannot use images imbedded in text documents or spreadsheets.
Deadlines: for submission of articles are February 1, June 1 and October 1. Contributions
are subject to editorial review and should be sent to: P.C.A., Attn: Editor, The Pennant,
The P.C.A. Board
Craig Bozorth
Joel Hamilton
Dan Reppert
AnnMarie Hautaniemi
Victor Chen
Bert Heiserman
305.858.5635
[email protected]
505.437.8118
[email protected]
319.372.3730
607.257.8502
[email protected] [email protected]
510.444.4119
[email protected]
301.590.7111
[email protected]
L. Michael Fultz Len Provisor
312.642.7968
[email protected]
847.566.4206
[email protected]
PO Box 447, Fort Madison, IA 52627-0447 or via email to: [email protected].
_______________
All opinions expressed in The Pennant are those of the authors and do not
necessarily represent the opinions of the P.C.A., its directors, or members.
M arket place
Wanted: POLITE COLLECTOR would like to buy pens, pencils, advertising material, display cases or other
information regarding the Hartline Pen Co., that was located in Tampa, Florida, and for a short time in Michigan.
Please contact me at 786.275.0394, collect is fine. Or e-mail me: [email protected]. Thank you, Craig Bozorth.
buy/sell: www.Parker75.com, Buy/Sell Parker 75, Premier, T-1, Parker Ephemera, Lee 404.285.5564…
[email protected].
Wanted: Rare+ regular Aerometric PARKER 51’s-complete pens all models(excellent, mint) sets, parts, +
sep. STUB, OB nibs. Email [email protected] or call 516-921-5989 (noon-5pm).
Wanted: High quality combination pen-pencils, including Conklin, Waterman, Schnell, Wahl, Mabie
Todd, Diamond Point and Diamond Metal. Jon 949-786-1980 • [email protected].
Wanted: Always looking to buy vintage Burnham pens. Please contact Akiva at [email protected].
 ANNOUNCING: The first Long Island Pen Show, Friday & Saturday, November 17/18, 2006, at Hofstra
University, Hempstead, LI, NY, www. LIpenshow.com; contact [email protected].
Buy • Sell • Trade in The Pennant Marketplace. Your classified ad reaches over 2,000 pen enthusiasts. P.C.A. members are entitled to
one or more free classifieds annually based on membership level. Free ad may be up to 25 words in length. Marketplace ads $.50 per
word. Deadlines for publication: February 15, June 15 and October 15. Mail to: P.C.A. Marketplace, P.O.Box 447, Fort Madison, IA
52627 or FAX to 319.372.0882 or email: Terry Mawhorter, Advertising Mgr. [email protected]
56
summer 2006 The
pennant
DEHAVILLAND
1930 DH80 Puss
Moth G-AAXV 
Kensingtonpens.com
MONTBLANC
Fine Vintage Writing Instruments
1922 LVG C VI
All Brands, specializing in the
Luft-Verkehrs-Gesellschaft mbH
Rare and Unusual
The name MONTBLANC and the star logo are copyrights of
MONTBLANC INTERNATIONAL GMBH
Cliff Harrington and Mark Hoover,
Historically accurate
reproduction models
Proprietors
Visit
www.inkblotters.com
for ordering information
4090 A Howard Ave.
Kensington, MD 20895
Telephone 301.530.1183
Len Provisor email:
[email protected]
The pennant
summer 2006
We Exhibit At All Major Pen Shows
57
The Zoss Pens List is a free internet service. Subscribers are
part of a dynamic online community of people interested in
collecting pens, pencils and other related paraphernalia, vintage
and modern. Many subscribers are PCA members. You choose
how to participate - learn about pens, buy sell or trade, or just
watch and read the messages. It’s fun and it’s free!
™
Tuesday–Friday, 9–4. Most Saturdays 10–3. Call to Verify.
For information go to: http://www.zoss.com/pens/
Or write Tom Zoss at [email protected]
© 2006TWZ
Collector wishes to buy pens by
Cincinnati makers
John Holland
Collins / Pick / Royal / Star
Weidlich / Weidlich-Simpson
Contact:
Jack Leone
[email protected]
513.732.2038
PENant Ad.pub
page 1
Wednesday, February 01, 2006 12:50
Composite
Tel. 757.425.2162 • FAX 757.425.2165
Toll free: 888.340.7367
1560 Laskin Rd. #158, Virginia Beach, VA, 23451
58
summer 2006 The
pennant
The Writing Equipment Society Journal
is published in England and covers the history and development
of writing equipment. For just $65 a year you will receive three
colourful issues of the Journal packed with information and gain
easy access to the 600 members who are collectors and dealers in
the U.K. and Europe. To become a member of the Society, contact:
[email protected]
[email protected]
www.wesonline.org.uk
Ohio pen show
A premier vintage Pen show
November 2, 3, 4, and 5, 2006
Exceptional Pre-Show Buying n 30+ Tables Thursday, 100+ Tables Friday
Vintage Pen Auction n Seminars & Parties
Featuring Long Time Exhibitors n Many Exclusive To The Ohio Show!
150 Tables Saturday and Sunday
Vintage and modern pens, inkwells, and a full range of pen related items
Clarion Dublin Hotel • Columbus, Ohio
$87/Night ( Toll free, 1.866.372.5566)
Weekend Registration: $50.00
(Includes Significant Other And/Or Child)
Terry and Sonya Mawhorter, Show Organizers
614.619.5025 n www.ohiopenshow.com Show Patrons
Bexley Pen
Nibs.com
The pennant
summer 2006
PenWorld Magazine
Inkblotters.com Pendemonium
pentrace.com 59
Pen Haven
3730 Howard Ave • Kensington, MD 20895
The Southern Scribe
Expert Pen Repair
Photos
on my
Website • Vintage Pens Sold
Single Pieces & Collections Purchased & Appraised
Now
re-tipping nibs in-house with
4–6 weeks
9–5 CST • Monday–Friday
turnaround
www.thesouthernscribe.com
Rick Horne • 334.263.4169
1868 Mt. Meigs Road • Montgomery, AL 36107
Open: Sat–Sun, 12 p.m.–5 p.m.
301.929.0955
Fax 301.365.4750
Professional Repair & Restoration
Vintage Fountain Pens & Accessories
Berton A. Heiserman 301.365.4452
Louis Wofsy • 703.323.4452
Email [email protected], or
[email protected]
www.penhaven.com
www.thewritefill.com
email: [email protected]
Fourth Raleigh Pen Show
June 2007
Vintage Parts Exchange Thursday
30+ tables Thursday (beginning at 10 a.m.!) • 90+ tables Friday
vintage pen auction, Friday
90 Tables Public Days
Vintage and modern pens • Full range of pen items • Seminars
Embassy suites hotel • Cary, north Carolina
call 1.800.embassy or 919.677.1840
free hot breakfast and evening reception included in room rate
free airport shuttle
weekend registration: $40.00 (includes spouse, significant other and/or child)
Terry & Sonya Mawhorter, show organizers
www.raleighpenshow.com 614.619.5025
Show Patrons
60
Bexley Pen
PenWorld Magazine
Pendemonium
Swisherpens.compentrace.com
Inkblotters.com
Triangle Pen Club
summer 2006 The
pennant
Wanted!
Writers for
The Pennant
Please Contact
Jim Mamoulides
[email protected]
Vintage Writing Instrument Repair, Restoration and Appraisals
One Week Turnaround!
Lever / Button Fill $30 • Parker Vacumatic $35
Sheaffer Vacuum Fill $35 • Conklin Nozak $40
All others call
All work warranted. Large parts inventory. We buy!
Aaron A. Svabik
PO BOX 2866 • Youngstown, OH 44511
330.507.pens
[email protected]
The Pen Mechanic
Repairs, most makes of vintage fountain pens & pencils
Specializing in Waterman’s Rivet Clips and
100-Year Pen Barrel End replacements.
Reasonable rates and fast turnaround.
Bill Enderlin
301.585.0600
P.O. Box 197, Kensington, MD 20895
Todd Nussbaum
P.O. Box 32166
Mesa, AZ 85275
Website: www.isellpens.com
E-mail: [email protected]
Are You Looking for the Perfect Gift for a Favorite Pen Collector?
Consider a Gift Membership in the P.C.A.
Now you can give a gift that will inform, delight and remind someone you know that you are thinking of them everyday of the year! Complete all of the
requested information below, print clearly and send this form, along with your check or money order, made payable to:
Pen Collectors of America, Attn: Roger Wooten, P.C.A. Treasurer
P.O. Box 174 • Garden Prairie, IL 61038-0174
Please send a Gift Membership for (check one):
Inside the U.S.:
Outside the U.S.:
n One year $40 U.S. n One year $60 U.S. n three years $105 U.S.
n three years $150 US
Send membership to:
Name of Gift Recipient_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Mailing Address_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
City _ _________________________________________ State/Province ___________ Country _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
Postal/Zip Code_ ________________________________ Email _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
Phone (______)_ ________________________________ FAX (______)_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
Gift card message _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
Check this box if this name should be omitted from publication as a P.C.A. member.
n
Your Name_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
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City___________________________________________ State/Province___________ Country _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
Postal/Zip Code_ ________________________________ Email_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
Phone (______)_ ________________________________ FAX (______)_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
The pennant
summer 2006
61
The Pen & Pencil
Gallery
Restoration of Vintage writing equipment
Sales of quality old items
As well as Fountain pens
CUSTOM NIB MODIFICATIONS
SPECIALIZING IN VINTAGE AND LIMITED EDITION PENS
We offer competitive prices on Pelikan, Omas, Namiki and Sailor pens
Pencils
Inkwells
Quill knives
Quills
Dip pens
English pen repair
Parts
Parker 51,61,65
Contact
www.awigallery.com
www.penpencilgallery.com
Email [email protected]
Phone UK 44 1768484300
• Re-tipping (any size)
• Flow adjustments
• Re-grinding
• Crack repair
• Straightening
• Original Replacements*
*A large stock of vintage nibs is available especially Waterman’s and Parker
Stub, italic, oblique, calligraphy and
flexible tips made to custom specifications
•Re-tip on nib only............................................................... $60
(extra charge for Stub, Oblique, Xbroad, or Xfine)................ $10
• Nib Removal and Resetting (Whole Pen Charge)................... $20
• UPS Third-day insured for $100............................................ $6
(Any amount of insurance is available. Please add $.50 per $100 over $100)
Limited service from mid–June to mid–September.
John Mottishaw
P.O. Box 46723
Los Angeles, Ca. 90046
Telephone: 323.655.2641
Fax: 323.651.0265
e-mail: [email protected]
Visit our web site at www.nibs.com
TIRED OF DEALING
WITH THE UNKNOWN
ON THE INTERNET?
How about internet prices
on a vintage pen list?
If you're not on our mailing list,
you should be!
THE FOUNTAIN PEN
RECYCLER
• OLDEST CONTINUALLY PUBLISHED
VINTAGE PEN LIST IN THE U.S.
• FULL-SERVICE RETAIL PEN STORE
• VINTAGE PEN REPAIR & RESTORATION
Mike Carter, owner
Celebrating our 17th year!
7000 57th Ave North, Ste 103 • P.O. Box 28083
Crystal, MN 55428 Tel. 763.535.1599
Web: fountainpenrecycler.com
62
summer 2006 The
pennant
Inkpen Vintage
Fountain Pens
™
Sales • Search • Purchase
Repairs on most vintage pens including
Parker and Sheaffer vacs.
Excellent communication
All work guaranteed
Joel Hamilton
505.437.8118
[email protected]
Sherrell Tyree
913.642.3216
[email protected]
Visit our website
www.ink-pen.com
“Your Pen is Our Priority!”
Announcing the First
Long Island Pen Show
November 17–18, Hofstra University
Hempstead, LI, New York
Pre-show Friday 8–noon for exhibitors & weekend traders
Public show Friday noon–8 p.m. • Saturday 10 a.m.–8 p.m.
Admission $10/day, weekend discounts available
For tables and other information visit
www.LIpenshow.com
•
[email protected]
Featuring onsite nib work by Richard Binder and repairs by Ron Zorn
The pennant
summer 2006
Fine Fountain Pens
& Writing Supplies
Norman G. Haase
[email protected]
www.hisnibs.com
63
Society of Inkwell
Collectors
Join Us!
Newsletter
Convention
Books & Accessories
Networking
P.O. Box 324
mossville, il 61552
Phone: 309.579.3040
[email protected]
WWW.SOIC.COM
64
summer 2006 The
pennant
Aurora, Bexley, Delta, Libelle,
Monteverde, Parker, Pelikan, Recife, Retro 51,
Sheaffer, Stipula, Visconti, Waterman
NEW!
Private Reserve Ink
Private Reserve Fountain Pen Inks are among
the best inks available today: purchase from
one of our dealers - you’ll be happy you did!
28 Vibrant Colors • Neutral ph
Excellent coverage
Smooth flow • Non-clogging
Fast drying • Made in the U.S.A
50 ml classic deco bottle - $7.60
Private Reserve Ink
is now available in standard
(universal or international)
cartridges, each
color packaged in
a unique plastic
recloseable case
containing twelve
cartridges.
Cartridges come
in 23 colors!
Private Reserve Ink
P.O. Box 704, Zionsville, IN 46077
(317) 733-1970 • www.PrivateReserveInk.com
Visit our website for dealer listings.
Dealer inquiries invited.
FOUNTAIN PEN HOSPITAL
The Showcase of Fine Writing Instruments
Since 1946
World’s Largest Selection
Visit our newly expanded showroom
for an experience unlike any other.
The world’s largest selection of
contemporary, limited edition and
vintage pens.
CALL OR EMAIL
FOR FREE PEN CATALOG
10 Warren Street
New York, NY 10007
800.253.PENS
T. 212.964.0580 / F.
212.227.5916
[email protected]
www.fountainpenhospital.com
Just click www.fountainpenhospital.com

207 The PENNANT 2006 Summer Vol. XXIV, No.2

Transcription

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