SanchezAlamo Pens

The Chilton Pen Company

2010-01-19T03:13:00.000-08:00

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Nowadays Chilton pens present real safe value for any vintage pen collector. Chilton made high quality pens, with great nibs and in quite unusual colours. However what Chilton above all represents is the determination and effort of its founder to create the best filling system at the time.

Chilton Boston Oversize in mottled hard rubber. © Carlos SanchezAlamo

The Chilton Pen Company was founded in 1923 in Boston, Massachusetts, by Seth Chilton Croker, whose father had founded The Croker Pen Company.

Improving the ‘blow-filler’ system used by his father, Chilton created the ‘Pneumatic-filler’, a far better filling system than the ones used by the other makes at the time: with just a simple motion the inner rubber sac could take twice as much ink as their competitors’.

Chilton Boston Black and Pearl. © Carlos SanchezAlamo

To refill the pen, you had to slide the barrel upwards, put your finger over the little hole that was at the end of the body, pull it downwards again, put the nib inside the ink pot and release the pressure of the finger, creating a vacuum which allowed ink to go up through the nib and into the rubber sac.

Hole at the end of the barrel used to create the vacuum. © Carlos SanchezAlamo

The inside tube of this first system had the peculiarity of being attached to the section. This entailed a larger section and a longer cap, especially when compared to the total length of the pen. This esthetical detail is quite outstanding, specially in the first small models of the company.

In those same times the company made some pens finished in exotic leather such as snake, lizard, elephant or ostrich. These models, which were specially designed for female clients, were very fragile and they are very hard to find nowadays.

Several Chilton Boston in black/pearl celluloid and orange and mottled hard rubber. The second and third ones on the left are two Chilton Boston pens in black hard rubber and covered in snake and elephant leather. © Bill Baisden

The first pens were made in the usual black and/or orange hard rubber; however, from 1926 on the company started to use celluloid as the other makes were doing.

Chilton Black Lined Hard Rubber. © Carlos SanchezAlamo

In the late 20’s the company moved to Long Island City, in New York, changing the design of their pens following the ‘streamline’ trend of the time, and introducing new colours …

Chilton Long Island Black and Bronze. © Carlos SanchezAlamo

… some of them quite uncommon and difficult to find nowadays such as the ‘Clown pattern’, the ‘Peacock’ or the ‘Multicoloured yellow and red pattern’.

Chilton "Clown" or "Harlequin". © Rtlott, propiedad de Bill Baisden

Chiltons Peacock. © Bill Baisden

Chilton "Multicolored yellow and red pattern" or "Chartreuse". © Carlos Sànchez-Alamo

By improving the mechanism, the shape of the pen gets also improved: to fill the rubber sac you only have to slide the lower part of the barrel. This mechanism is very similar to the one used in the ‘Touchdown’ Sheaffer models twenty years later.

Chilton Long Island Demostrator, made so as to show the potential client how the filling system worked. © Bill Baisden

It is in those times that the make also patents the Lox-Top: once the pen was closed, a notch or slot under the clip stopped it from falling out of the pockets.
The 30’s were difficult years for all the manufacturers. Only the strongest ones could hold out the economic crisis, due to either their innovations or to their new models.
In 1935 Chilton launched a new model, the Wing-Flow. It was named after its nib, which was held to the feed. Though this innovation was presented as one of the most important advances in the history of fountain pens, some collectors today think of it as just a way to lower costs on the manufacturing of nibs during the crisis.

The pen itself was of great quality and it had the efficient filling system of its predecessors. Besides, both its shape and the final decoration (metal inlays in celluloid, an exclusive patent of Chilton) followed the ‘Art deco’ trend of the time. In spite of it all, the Wing-flow was not a sales success.

© 1997 Fred Plewa

Chiltons Wing-Flow. © Bill Baisden

Chilton Wing-Flow set in gold filled. Modelo rarìsimo. © Bill Baisden

Chilton Wing-Flow in Cherry Red and Royal Blue. © Bill Baisden

Chilton Wing-Flow George VI (Rex) set. Very uncommon model made in 1937 to commemorate the coronation of the king of England. © David Isaacson, property of Bill Baisden

For the first time the make started to advertise on nation-wide press (‘Saturday Evening Post’ and ‘Post and Liberty’). They did not succeed, though; the company was unknown to the public and the times were not the most convenient to launch new models.

At the end of the 30’s Chilton made some models clearly targeting the ecclesiastic market. They were called ‘Holy Water’. These models, without nib and decorated with a cross, had the section pierced and were filled with holy water. LeBoef, Parker and Waterman also made this peculiar type of pens at the time.

Chilton "Holy Water"

In 1939 the company moved again, this time to Summit, New Jersey. Here Chilton manufactured the pen which is considered to be the last high quality pen manufactured by the firm: the ‘Golden Quill’. With rounded edges, without the engraving of the company and with a 14kt nib only the filling system gave the manufacturer away. A beautiful model, simple but elegant, it is perhaps the most coveted model by collectors nowadays.

Chilton Golden Quill. © Bill Baisden

Economic problems forced the company to make their last models cheaper: thus ‘Chiltonians’ were born, a poorer quality model with a steel nib, with the same characteristic filling system of the firm but ventless, that is, without the hole at the end of the body.

Chiltons Chiltonian in Black, in Peacock and in Chartreuse celluloid. © Bill Baisden

Chilton Peacock “Chiltonian”, Clip Less Turquoise and Chilton Lever-filler FP burgundy & black, this last one extremely unusual due to its lever filling system. © Bill Baisden

In 1941, and because of economic reasons, the company closes down and the manufacturing of pens comes to an end.
In those times there are some models with the Chilton patented filling system but manufactured in Holland. Although these pens are called Chilton and have got the same filling system as the Chiltonians, there is no connection whatsoever with the genuine American company and they must have been a copy of the last models made by Chilton in the U.S.A.

Chilton Pneumatic-fill fabricado en Holanda. © Carlos SanchezAlamo

Chilton is one of those small companies which manufactured extremely good quality fountain pens in their moment of glory. Their design was not always attractive, but its filling system is one of the best ever invented. Considered as one of the best makes concerning quality, some pens such as the Wing-Flow, the Golden Quill, the ones which use the lever system (perhaps a model used by the company as a prototype) or some models made in celluloid are extremely difficult to find nowadays. As LeBoeuf or Carter, Chilton is a highly valued make and some models can cost a few thousands of dollars …

My deepest gratitude to Bill Baisden for his great contribution to illustrate the history of this great company.
Carlos SanchezAlamo, November 2009

For more information on The Chilton Pen Company:

http://www.fountainpennetwork.com/forum/index.php?showtopic=113812&pid=1217973&start=&st=#entry1217973
http://www.chiltonpens.com/wingflows/
http://billspens.com/billspens/chilton/chilton.htm
http://www.pensandwatches.com/_pages/pen_company_photos/Chilton_pen_company.htm
http://www.rickconner.net/penspotters/chilton.html
http://www.vintagepens.com/filling_instructions_Touchdown.shtml

Translation by Susana Domínguez

Welcome to SanchezAlamo Pens

2009-11-29T01:58:00.001-08:00

Pens Show de Madrid 2009

2009-11-17T01:27:00.000-08:00

Le week-end dernier a eu lieu le VI Salon de stylo-plumes de Madrid. Si bien le salon n'est pas grand avec une quarentaine de exposants (américains, anglais, italiens, français, allemands et espagnols) en comparaison de pen shows organisés aux Étas-Unis, je trouve que c'est un des meilleurs "pen shows" en Europe pour le grand choix des stylos plumes anciens ainsi que modernes, la qualité des plumes qu'on peut voir/admirer/acheter et pour l'ambiance toujours aussi agréable :)

Un grand "Bravo" aux organisateurs Alfonso Mur, Jesùs Martìnez Guillén y Julia Gusano.

Mon ami Alvaro Romillo de www.estilograficas.com a réalisée un reportage, voici les liens:

- madrid-penshow-2009

- penshow-madrid-2009-lleno-hasta-la-bandera

The Chilton Pen Company

2009-10-30T11:05:00.001-07:00

English

Hoy en día las estilográficas Chilton representan un valor seguro para cualquier coleccionista de estilográficas antiguas (vintage). Chilton fabricó estilográficas de gran calidad, con excelentes plumines y en colores poco habituales, sin embargo Chilton representa sobre todo, el empeño de su fundador por crear el mejor sistema de carga de su época.

Chilton Boston Oversize in mottled hard rubber. © Carlos SanchezAlamo

The Chilton Pen Company fue fundada en 1923 en Boston, Massachusets, por Seth Chilton Crocker, hijo del fundador de The Crocker Pen Company.

Perfeccionando el sistema “Blow-filler” utilizado por su padre, Chilton introdujo el “Pneumatic-filler”, un sistema de carga muy superior al utilizado por el resto de las firmas de su época. Con un sencillo movimiento, el saco interior podía alojar el doble de tinta que las demás estilográficas de la competencia.

Chilton Boston Black and Pearl. © Carlos SanchezAlamo

Para cargar la estilográfica había que deslizar el barril hacia arriba, tapar con un dedo el agujero que se encontraba al final del cuerpo, bajar de nuevo el barril, introducir el plumín en el tintero y levantar el dedo del agujero creando una succión, permitiendo así que la tinta subiera a través del plumín y se alojara en el saco interior.

Detalle del orificio situado al final del cuerpo, empleado para crear vacío. © Carlos SanchezAlamo

El tubo interior en este primer sistema tiene la peculiaridad de estar unido a la sección lo que conllevaba hacer una sección más larga y un capuchón más grande con respecto al tamaño total del cuerpo. Este detalle estético es bastante llamativo sobre todo en los primeros pequeños modelos de la marca.

En la misma época la marca fabricó algunas estilográficas cubiertas en piel de serpiente, lagarto, elefante o avestruz. Estos modelos destinados a la clientela femenina, eran muy frágiles y hoy son difíciles de encontrar en buen estado.

Varias Chiltons Boston en celuloide negra/perla y en ebonita naranja y jaspeada. La segunda y la tercera empezando por la derecha son dos Chilton Boston en ebonita negra recubiertas de piel de serpiente y de elefante. © Bill Baisden

Los primeras plumas estaban fabricadas en la habitual ebonita, negra y/o naranja, sin embargo a partir de 1926 la empresa comienza a utilizar la celuloide al igual que las otras marcas.

Chilton Black Lined Hard Rubber. © Carlos SanchezAlamo

A finales de los años 20 la compañía se muda a Long Island City, en Nueva York, cambia el diseño de sus estilográficas siguiendo la tendencia de la época de la forma “streamline” e introduce nuevos colores…

Chilton Long Island Black and Bronze. © Carlos SanchezAlamo

…algunos bastante singulares y difíciles de encontrar hoy como el “Clown pattern”, el "Peacock" o el “Multicolored yellow and red pattern”.

Chilton "Clown" o "Harlequin". © Rtlott, propiedad de Bill Baisden

Chiltons Peacock. © Bill Baisden

Chilton "Multicolored yellow and red pattern" o "Chartreuse". © Carlos Sànchez-Alamo

El mecanismo también se mejora y con ello la forma de la estilográfica: para cargar el saco, ahora sólo la parte inferior del barril se desliza. Este mecanismo es muy parecido al utilizado en los modelos “Touchdown” de Sheaffer veinte anos más tarde.

Chilton Long Island Demostrator, fabricada para que los vendedores pudieran enseñar al posible cliente cómo funcionaba el sistema de carga. © Bill Baisden

En la misma época la marca también patenta el Lox-Top: con la estilográfica cerrada, una muesca debajo del clip impedía que ésta se cayera del bolsillo.
Los años treinta fueron una época difícil para todas las marcas. Solamente los fabricantes más fuertes resistieron a la crisis económica, bien por sus innovaciones, bien por sus nuevos modelos.
En 1935 Chilton comercializó un nuevo modelo, el Wing-Flow, llamado así a causa de su plumín el cual estaba sujeto al alimentador. Aunque esta innovación fue presentada como uno de los más grandes avances de la historia de la estilográfica, hoy algunos coleccionistas piensan que simplemente era una manera de abaratar costes en la fabricación del plumín en una época difícil.

La estilográfica en sí era de gran calidad, utilizaba el eficaz sistema de carga que las plumas precedentes y tanto su forma como la decoración (piezas de metal incrustadas en el celuloide, una patente exclusiva de Chilton) seguían la moda “Art deco” de la época. Aún así la estilográfica Wing-flow no fue un éxito de ventas.

© 1997 Fred Plewa

Chiltons Wing-Flow. © Bill Baisden

Chilton Wing-Flow set in gold filled. Modelo rarìsimo. © Bill Baisden

Chilton Wing-Flow in Cherry Red and Royal Blue. © Bill Baisden

Chilton Wing-Flow George VI (Rex) set. Modelo muy raro fabricado en 1937 para celebrar la coronación del Rey de Inglaterra. © David Isaacson, propiedad de Bill Baisden

Por primera vez la marca comenzó a hacer su publicidad a nivel nacional en la prensa(”Saturday Evening Post” y “Post And Liberty”), sin embargo la acogida no fue excesivamente buena. La firma era una desconocida para el público y la época no era muy favorable para lanzar nuevos modelos.

A finales de los años 30 Chilton fabricó algunos modelos claramente orientados para la “iglesia”. Llamados “Holy Water”, estos modelos sin plumín, decorados con una cruz, tenían la sección perforada y se rellenaban con agua bendita. LeBoeuf, Parker o Waterman también fabricaron en la misma época este tipo de plumas tan peculiares.

Chilton "Holy Water"

En 1939 la empresa cambió de nuevo de dirección y se mudó a Summit, New Jersey. Aquí Chilton produjo lo que se considera la última estilográfica de calidad fabricada por la marca, la Golden Quill. Con las extremidades redondeadas, sin grabado de la marca y con plumín de 14kt. solamente el sistema de carga delataba la marca. Un modelo muy bonito, sencillo pero muy elegante. Hoy es quizás uno de los modelos de Chilton más buscados por los coleccionistas.

Chilton Golden Quill. © Bill Baisden

Los problemas económicos obligan a la firma a hacer sus últimos modelos “más baratos”; surgen así las llamadas “Chiltonians” éstas estilográficas con plumín de acero son de peor calidad, y utilizan el sistema de carga característico de la marca sin el agujero al final del cuerpo (ventless).

Chiltons Chiltonian in Black, in Peacock and in Chartreuse celluloid. © Bill Baisden

Chilton Peacock “Chiltonian”, Clip Less Turquoise y Chilton Lever-filler FP burgundy & black, está última extremadamente rara por su sistema de carga de palanca. © Bill Baisden

En 1941 la compañía (por razones económicas) cierra sus puertas y finaliza la fabricación de estilográficas.
De la misma época existen algunos modelos fabricados en Holanda con el sistema de carga patentado por Chilton. Aunque estas estilográficas llevan el nombre de Chilton y el sistema de carga es el mismo que el de las Chiltonians, no existe ninguna conexión con la compañía original americana y seguramente fueron solamente una copia de los últimos modelos producidos por Chilton en Estados Unidos.

Chilton Pneumatic-fill fabricado en Holanda. © Carlos SanchezAlamo

Chilton pertenece a ese grupo de pequeñas marcas que fabricaron durante la época dorada estilográficas de excelente calidad. Si bien su diseño no siempre fue el aspecto más atractivo, su sistema de carga fue uno de los mejores sistemas inventados. Considerada como una de las mejores marcas a nivel de calidad, algunas estilográficas como la Wing-Flow, la Golden Quill, aquellas que utilizan el sistema de palanca (un sistema utilizado por la marca quizás como prueba) o algunos modelos fabricados en celuloide son hoy en día muy difíciles de encontrar. Al igual que LeBoeuf o Carter, Chilton está considerada como una marca muy valorada y los modelos más raros pueden costar varios miles de dólares.

Mi más sincero agradecimiento a Bill Baisden por su gran aportación para ilustrar la historia de esta gran firma.
Carlos SanchezAlamo, noviembre 2009

Para más información acerca de la The Chilton Pen Company visitar:

http://www.fountainpennetwork.com/forum/index.php?showtopic=113812&pid=1217973&start=&st=#entry1217973
http://www.chiltonpens.com/wingflows/
http://billspens.com/billspens/chilton/chilton.htm
http://www.pensandwatches.com/_pages/pen_company_photos/Chilton_pen_company.htm
http://www.rickconner.net/penspotters/chilton.html
http://www.vintagepens.com/filling_instructions_Touchdown.shtml

Moore Fingertip fountain pen in autumn pearl celluloid, c.1946

2009-10-30T11:05:00.000-07:00

Waterman Glass Cartridge-fill in Reddish/Brown Pearl, mint condition with the original labels, c.1932

2009-10-30T11:00:00.003-07:00

Waterman 412 1/2 in sterling silver filigree c.1905

2009-10-30T11:00:00.001-07:00

LeBoeuf desk set in Lavender Pearl, mint condition with the original box, thumb filler, c.1929

2009-10-30T10:58:00.001-07:00

LeBoeuf #75 in grey and white swirl celluloid, #8 LeBoeuf nib, lever filler pen, c.1928

2009-10-30T10:55:00.001-07:00

LeBoeuf #75 in Red with Cream Flecks fountain pen, #8 LeBoeuf nib, lever filler pen, c.1928

2009-10-30T10:53:00.000-07:00

2009-10-07T05:42:00.000-07:00

9th Annual International NYC Pen Show New York City, 9-11 October 2009 (google traduction)

Here's the report of Alvaro Romillo on "estilograficas.net" from the NY pen show 2009.

Enjoy it.

Carlos SanchezAlamo

Carter #7233 ring-top set in brown Coralite, c.1927

2009-09-07T00:37:00.000-07:00

Carter fue fundada en Boston, Massachusetts por John W. Carter en 1858. Dedicada a la producción de tintas y productos de oficina, en 1926 decidió invertir en el mundo de las estilográficas gracias a la compra de las patentes de la reciente desaparecida Laughlin Pen Company.

Los modelos, en ebonita y en celuloide, se caracterizan por su alta calidad, su sistema de carga a palanca y su clip. Al igual que LeBoeuf, Carter utilizó celuloides muy diferentes a las demás marcas; algunos colores son excepcionales. Los modelos #7 (oversize) son, en mi opinión, junto con las Moore L96, las Waterman #8, las LeBoeufs #8 y las Eisenstandt #8 una de las estilográficas más impresionantes y elegantes de la época.

Con una fuerte promoción publicitaria gracias a la reputación de las tintas, las ventas prosperaron hasta los años de la depresión. En 1939 la marca prefirió abandonar la venta de estilográficas y se dedicó solamente a la producción de tinta.

El año pasado tuve la oportunidad de comprar este set de Carter. Aunque nunca he sido un aficionado a las plumas "ring top", las cuales las encuentro demasiado pequeñas, menos bonitas al no tener el clip y poco prácticas hoy en día, reconozco que desde el primer momento caí en la tentación de "poseer" este objeto de escritura que tiene más de ochenta anos. Lo que más me gustó fue el hecho de conservar el estuche original con la emotiva escritura:

"Xmas 1927, to Ethel Robinson from Will Pope"

Código impreso al final del barril para definir el color (723...) y el tamaño del plumín (...3)

Tanto la estilográfica como el portaminas están construidos en celuloide (llamada comercialmente por Carter Coralite) color crema y protegidos en un estuche en plástico.

El plumín 14c, fino, ligeramente flexible y su conducto en ebonita, el cual suministra la tinta de forma regular, son una maravilla, sencillos y eficaces. Es quizás uno de los mejores plumines que jamás he utilizado.
Aunque reconozco que el tamaño es pequeño y no muy práctico, la estilográfica y el lapicero desprenden calidad y estoy seguro que a Ethel Robinson le encantó su regalo ;)

Chilton Long Island full size in black and bronze celluloid, pneumatic self-filling system, c. 1930

2009-08-20T06:58:00.001-07:00

Article écrit par M. Jimmy Péguet et paru dans forum.styloplume.net de M. Loïc Rainouard.

Accompagné de quelques photos, voici un Chilton Long Island, un très beau stylo à plume américain datant d’environ 1930. Ce stylo fabriqué dans un magnifique celluloid est en bel état, avec une bonne plume très fine. Il est équipé d’un très intéressant système de remplissage particulier à la marque.

Un peu d'histoire pour commencer.

Seth Chilton Crocker était le fils d’un grand nom américain du stylo, Seth Sears Crocker, lequel fabriquait depuis 1902 de très intéressants stylos (une présentation d’un stylo Crocker est à venir). En 1924, Crocker Junior installe à Boston sa propre manufacture d’où vont sortir des stylos de très bonne qualité avec un système pneumatique de remplissage breveté d’après un système inspiré de son père : certains modèles de Crocker se remplissaient en soufflant à la bouche dans l’extémité du stylo, ce qui compressait un sac de caoutchouc. En cessant de souffler, le sac se gonflait et l’encre montait dans le stylo. Les premiers modèles de Chilton sont en ébonite, la firme commence à fabriquer des stylos en celluloid en 1926. Vers la fin des années 20, Chilton déménage à Long Island, où seront produits jusqu’en 1941 des stylos encore très recherchés aujourd’hui : qualité de la fabrication, qualité et beauté des plastiques, originalité et fiabilité du système de remplissage, qualité des attributs et qualité d’écriture. La firme est toujours restée cantonnée dans le nord-est des USA, ce qui explique son déclin et sa fin. En quinze courtes années, Chilton s'est construit dans l'histoire des stylos une réputation qui a traversé le temps.

C'est un stylo de belle taille, sans être un oversize, très légèrement évasé. 12,8 cm de long fermé pour un diamètre du corps de 12,5 mm. Ouvert sans capuchon, il mesure 12,3 cm, ce qui, pour donner une référence moderne que beaucoup connaissent ici, est à peu près la taille d’un Sailor 1911.

Deux choses frappent : d’abord, la beauté du celluloid. Je ne sais pas comment cette couleur a vieilli, il semble qu’elle fasse partie de celles qui traversent le mieux le temps. J’enclenche le mode lyrique pour la décrire : des taches brunes, couleur de feuille de chêne séchée, saupoudrées de poudre d’or qui flottent sur une mare d’eau noire en forêt. Ou qui tombent lentement dans la nuit noire. Fin du mode lyrique. La couleur et le relief sont extraordinairement beaux, le vendeur avait très bien poli le sylo, ce qui accentue encore la profondeur du noir et la délicatesse des bruns. On ne se lasse pas de le regarder. Cette profondeur est très difficile à rendre en photo. Je poste ci-dessous les photos de Carlos Sanchez Alamo avec sa permission. Je me suis permis de les retoucher pour approcher au plus près la couleur originale, assez bien rendue sur mon écran calibré. Les photos sont beaucoup plus ternes que celles de Carlos, mais plus réalistes. On peut comparer les deux versions, les originales, moins fidèles mais donnant une meilleure idée de la profondeur se trouvent sur son site, j'indique l'adresse en fin de texte.

La seconde chose frappante est la qualité de la dorure : elle est d’origine, comme neuve sur le clip et les bagues, impressionnante de fraîcheur. La qualité de ces stylos était très au-dessus de la moyenne et a traversé les années. La gravure sur le corps est bien présente, le stylo présente les très légères marques habituelles d’usage, son état général est vraiment excellent.

La plume est une grande plume très fine 14K légèrement flexible, particulièrement plaisante. Très fine mais ce n’est pas une needle point, elle est très légèrement plus large que que la plume Pink d’un de mes Waterman. Le stylo est bien entendu utilisable sans réserves, puisque mon premier plaisir est d’écrire avec mes stylos vintage.

Ce qui vient est particulièrement intéressant. Il a existé plusieurs systèmes pneumatiques Chilton de remplissage. Le principe est le même : dans le premier système, le corps coulisse sur un tube fixe. On tire le corps, percé d’un trou à son extrémité, vers l’arrière. Le tube en aluminium contient le sac d’encre. On plonge la plume dans l’encre, et en repoussant le corps tout en bouchant le trou de l’extrémité avec le doigt, on compresse le réservoir. On enlève le doigt, il n'y a plus de compression, l’encre monte alors dans le stylo. Le système était très ingénieux, mais nécessitait deux mains et une grande taille de capuchon. Les ingénieurs de Chilton améliorent donc le système, une deuxième version voit le jour, c'est celle que nous trouvons sur ce Long Island : le corps est maintenant fixe, c’est le tube intérieur qui coulisse, la compression se fait toujours en bouchant avec le doigt le trou du « blind cap » qui termine celui-ci. On voit le tube tiré hors du corps sur la troisième photo. La construction du Chilton est très précise, le système est quasi-parfait, très fiable et peut durer des années. Il est remarquable de voir comment ont été, sans matériaux sophistiqués, résolus les problèmes d’étanchéité. C’est un des plus beaux et des plus simples systèmes de remplissage que je connaisse. Les amateurs auront immédiatement reconnu le système sur la troisième photo ci-dessous : Sheaffer ne s’y est pas trompé, qui des années plus tard le reprend à son compte en introduisant le célèbre Touchdown, qui est exactement le même système, légèrement amélioré puisqu’on n'a plus a boucher le trou avec un doigt, pression et dépression se font automatiquement.

Ces magnifiques Chilton assez peu courants sont aujourd’hui des stylos très recherchés par les collectionneurs, ils sont en général relativement chers.

J’espère que cette petite présentation rapide vous aura intéressé. Comme d’habitude, vos commentaires, questions, rectifications, précisions… sont les bienvenus.

Je tiens à remercier Carlos Sanchez Alamo, non pas de me ruiner à petit feu avec une admirable ténacité , mais pour sa permission de reproduire ses propres photos, sa passion et sa disponibilité. Je rappelle l'adresse de son très beau site : http://sanchezalamopens.blogspot.com/. Ses photos originales se trouvent ici, vers la fin de la page. Si le regard sur ces pages et ces petites merveilles ne fait pas quelques convertis de plus, c'est à désespérer . Amis, méfiez-vous de l'Ibère tentateur, comme dirait ma Fantômette préférée !

Jimmy

Plus d'information:

http://www.rickconner.net/penspotters/chilton.html

http://www.vintagepens.com/filling_instructions_Touchdown.shtml

http://www.richardspens.com/

LeBoeuf #75 in Black with White ends, #8 LeBoeuf nib, lever filler pen, c.1927

2009-08-20T06:56:00.001-07:00

Chilton Long Island full size in black and bronze celluloid, pneumatic self-filling system, c. 1930

2009-07-20T08:15:00.000-07:00

Pens for sale

2009-06-26T08:20:00.001-07:00

In collaboration with www.penandco.com

All the pens for sale are 100% original and in working condition. All the pens come from our own collection. For the payment we accept Paypal, and for the european buyers checks and money orders too. Free worldwide registered mail shipping fees (uninsured).

If you want more information about the pens don't hesitate to contact us on: Contact

Our guarantee: if you are not satisfied with the pen you can send it back and we will refund you the money.
Thank you for your visit, Carlos SanchezAlamo & Penandco

• Parker Premiere set in green pearl marbelized, button filler, c.1932
325€ Free worldwide registered mail shipping fees
Information/Order

Superb Parker set known as Thrift-time or Depression Parker pen. This is the biggest size. Except a slight difference of color on the barrel of the pen and a slight brassing found on the clip ball, the set has a beautiful color and it's in excellent condition without cracks or hairlines. The original nib is a marvelous medium very smooth point. Fully readable imprints on the barrel. Both pens are in working condition. The length of the pen closed is 13 cm, 15,2 cm capped and 11,7 cm uncapped.

• LeBoeuf #4 set sleeve-filler, c.1930
475€ Free worldwide registered mail shipping fees
Information/Order

Rare LeBoeuf #4 set, fountain pen and pencil, in yellow, black and pearl celluloid. A rare color, very collectible. Made around 1930, the model feautures the streamlined shape from 30's. The set is in excellent condition. I have installed a new sac and the sleeve-filler works perfectly, the pencil works too. The imprints on the barrel of the fountain pen are fully readable. No cracks or brassing. The length of the pen closed is 11,5 cm, 14 cm capped and 10,5 cm uncapped. The nib is a fine point, it writes very smoothly.

• MontBlanc 124 fountain pen, piston filler, c.1972
170€ Free worldwide registered mail shipping fees
Information/Order

Excellent condition. Except a small flaw on the white star engraved on the top of the cap (see 4th picture), the gold filled cap hasn't any ding. No brassing. Fully readable imprints on the cap lip. The length of the pen closed is 13 cm, 14,7 cm capped and 12,8 cm uncapped. Original 14k stub MB nib. Restored and in working condition.

• MontBlanc 334 1/2 fountain pen piston filler
225€ Free worldwide registered mail shipping fees
Information/Order

Made only between 1948 and 1950, the pen is in excellent condition, the piston filler works perfectly and there is only noticiable brassing on the clip. Perfect white star engraved on the top of the cap, prewar shape. Fully readable imprints on the cap and on the blind cap. The length of the pen closed is 12,3 cm, 14 cm capped and 11,7 cm uncapped. Original 14k flexible fine MB nib. Restored and in working condition.

• MontBlanc 342 G fountain pen piston filler, c.1954
165€ Free worldwide registered mail shipping fees
Information/Order

Excellent condition, the piston filler works perfectly. Clear blue ink window on the barrel and perfect white star engraved on the top of the cap. Fully readable imprints on the cap and on the blind cap. The length of the pen closed is 12,7 cm, 14,2 cm capped and 11,5 uncapped. Original 14k oblique medium MB nib. Restored and in working condition.

• Carter's 9115 in jade green Coralite (celluloid), lever filler, c.1928
350€ Free worldwide registered mail shipping fees
Information/Order

One of the best jade green I have ever seen. This color is hard to find in such a good condition without discoloration. The beautiful color is uniform everywhere and there isn't any discoloration. No brassing or any problems. Full size (just after oversize #7). The length of the pen closed is 12,8 cm, 16,3 cm capped and 11,7 cm uncapped. Original 14k lightly flexible and fine Carter Inx nib. Perfect imprints on the barrel. Restored and in working condition.

• Parker Vacumatic grey pearl, 1st generation, metal lockdown filler, c.1937
255€ Free worldwide registered mail shipping fees
Information/Order

Standard size, excellent condition, no brassing except on the cap rings. Excellent transparency with a light discoloration of the barrel. 14k extrafine Parker nib, it is a later replacement. The imprints are well worn. Restored and in working condition. The pen measures 13 cm closed, 15 cm capped and 11,7 cm uncapped.

•Wirt #2 mottled hard rubber cable twist, eyedropper pen, c.1905
SOLD

• A.A. Waterman #7 in mottled hard rubber, eyedropper fountain pen, c.1910
SOLD

• J.G. Rider Master pen in mhr, eyedropper pen, c.1910
SOLD

The J.G. Rider company was founded in 1905 and disappeared twenty years later. He made special eyedropper pens with a special clip on the cap that could be used to hook the feed out of the pen, allowing you to fill it with an eyedropper. The pen is in superb condition and its original fine nib, retipped by Greg Minuskin, writes very well.

• Carter's fountain pen in grey marbled Coralite (celluloid), lever filler, c.1931
SOLD

Beautiful Carter pen made around 1931. The pen features a streamlined shape, with a rounded black enamel end of the cap and the barrel. The color is superb, there isn't any discoloration. Light brassing on the clip. This is a full size (just after oversize) or also called standard size. The length of the pen closed is 12,7 cm, 15,7 cm capped and 11,6 cm uncapped. Original 14k flexibe fine Carter Inx nib. No imprints on the barrel, correct for this model. Restored and in working condition.

• Moore Maniflex in brow striped celluloïd, lever filler, c.1940
SOLD

Full size, near mint condition, great color, no brassing. Excellent imprints and original 14k fine nib. Restored and in working condition. The pen measures 12,7 cm closed, 16 cm capped and 11,7 cm uncapped.

• Beautiful Parker Vacumatic brown striped, 1st generation, metal lockdown filler, c.1937
SOLD

Standard size, near mint condition, no brassing. Good transparency.14k extrafine Parker nib, it's a later replacement. Restored and in working condition. Fully readable imprints. The pen measures 13 cm closed, 15 cm capped and 11,7 cm uncapped.

• Conway Stewart 58 tiger eye, lever filler, c.1951
SOLD

Beautiful Conway Stewart 58 in tiger eye celluloid, with original 58 "Duro" 14k stub nib. The "Duro" pens was the appellation for the top-line pens. Beautiful color. Except a usual brassing found on the clip the pen is in excellent condition. No cracks. The original nib is a marvelous stub very smooth point. The pen has a new sac installed and it's in working condition. Fully readable imprints on the barrel. The length of the pen closed is 13 cm, 15,8 cm capped and 11,8 cm uncapped.

• A.A. Waterman Modern in mottled hard rubber, middle joint eyedropper fountain pen, c.1910
SOLD

• Moore 90-A fountain pen lever filler, c.1940
SOLD

Beautiful Moore pen in brown and cream celluloid. This is the first time I have seen this kind of color, a scarce model made by one of the most important companies at the beginning of the 20th century, creator of the famous Moore Non-Leakable safety and Fingertip pens. Excellent condition without brassing or cracks. The pen has a new sac installed and it's in working condition. Fully readable imprints on the barrel. The length of the pen closed is 12,7 cm, 15,7 cm capped and 11,2 cm uncapped. Original 14k flexible fine Moore nib.

• Parker 51 Signet Aerometric set in gold filled, full size, mint condition, c.1950
SOLD

Beautiful Parker 51 set, fountain pen and pencil. Very nice set in mint condition, no dings or brassing. Never used this set made around 1950 in Argentina. The Aerometric filler system (similar of thumb or sleeve filler from LeBoeuf company) still has the sac original. The imprints are fully readable. The nib is a fine-medium 14k point. The length of the pen closed is 14 cm, 15,2 cm capped and 12,7 cm uncapped. The set is in excellent and in working condition.

• Waterman Thorobred 32-A set, lever filler, c.1932
SOLD

Made during the depression, here's a beautiful Waterman Thorobred set, standard size. Very nice color, the imprints are fully readable on both pens. The original 14k fine 2-A nib writes very well and the lever filler works perfectly. The length of the pen (and the pencil) closed is 12,5 cm, 16,3 cm capped and 12,1 cm uncapped. I have installed a new sac and the set is in working condition.

• Crocker fountain pen in mottled hard rubber, hatchet-filler system, c.1918
SOLD

• MontBlanc 12 Meisterstuck fountain pen piston filler, c.1960
SOLD

Great MontBlanc 12 Meisterstuck, this model was been introduced in the 1960's and were in production for about 10 years. Designed by Graf von Goertz, known german designer who worked for BMW and other companies. Perfect white star engraved on the top of the cap and on the end of the barrel. No brassing. Fully readable imprints on the cap lip. The length of the pen closed is 13 cm, 14,2 cm capped and 11,6 cm uncapped. The hooded nib, sometimes known as the "butterfly" nib, is a marvelous 14k oblique broad MB nib. The piston filler has been revised and the pen works perfectly.

•Sheaffer Balance Lifetime in brown striated celluloid, standard size, lever filler, c.1936
SOLD

One of my prefer colors from Sheaffer. I know that the red or the scarce rose glow striated are superb too and of course more difficult to find, but I find that the brown color is very elegant with the gold filled trim. There is also very nice in this pen, the nib is a broad point that writes marvelously. The trim is perfect as the imprint on the barrel. I have installed a new sac and the pen is in working condition. The length of the pen closed is 13,7 cm, 15,5 cm capped and 11,9 cm uncapped.

• Pelikan 140 new old stock piston filler, c.1954
SOLD

Excellent Pelikan 140 in black and green striped. Possibly in mint condition. Except a slight brassing on the clip the pen is in excellent condition. The transparency is as new. No cracks. The original nib is a marvelous Oblique Broad. On the sticker is marked Pelikan OB. The piston filler works perfectly. Fully readable imprints on the cap lip. The length of the pen closed is 12,5 cm, 14,3 cm capped and 11,2 cm uncapped.

MontBlanc 134 Meisterstuck fountain pen piston filler, c.1950

2009-06-02T04:59:00.000-07:00

Article écrit par M. Jimmy Péguet et paru dans forum.styloplume.net de M. Loïc Rainouard.

J’avais à quelques reprises essayé de vieux Montblanc et j’avais à chaque fois beaucoup aimé leurs qualités de fabrication et d’écriture. Stylos sobres sinon austères, plumes très agréables. Voyant celui-ci qui m’avait instantanément séduit – on ne dira jamais assez l’attrait des bonnes photos et de la présentation sur un site de vente - chez un vendeur sérieux, j’ai cédé à la tentation après un moment de réflexion.

Montblanc est une très vieille maison. Ne connaissant à peu près rien à leurs vintage, j’ai avant et après l’achat pris quelques renseignements et fait quelques recherches, petits plaisirs de l’ancien. C’est là où on se rend compte que l’information n’est pas si abondante qu’on aurait pu l’imaginer avec une telle signature.

Le stylo est un modèle 134 en bon état. Dans la nomenclature Montblanc de cette époque, le 1 signe un Meisterstück, le modèle haut de gamme (il y avait des modèles 2xx et 3xx, par ordre décroissant de gamme), le 3 indique un remplissage à piston et le 4 marque la taille, qui allait comme aujourd’hui jusqu’au 9 pour les plus gros. C’est donc un stylo de taille moyenne, plutôt petit selon les canons modernes : à peu près de la taille d’un Pelikan 400 ou d’un Balance standard fermé. Il mesure 12,5 cm fermé, 11,6 sans capuchon, nettement plus court dans ce cas que le Pelikan. Le diamètre est sensiblement le même, 11,5 mm environ. Le stylo est fabriqué, corps et capuchon, dans un très joli celluloïd noir à reflets bruns chauds, légèrement translucide par endroits où on devine alors le réservoir. Le toucher est très agréable. Le bouton du piston est abrité sous un capuchon à dévisser juste en-dessous duquel figure, à peine lisible, la classique gravure DRP - Deutsches Reich Patent - accompagnée du numéro du brevet. Le capuchon à trois bandes plaquées or porte encore bien lisible l’inscription en creux Montblanc-Meisterstück, l’étoile au sommet est devenue un peu ivoire avec le temps. La dorure du clip est un peu ternie. La belle plume elle aussi un peu ternie porte les classiques inscriptions 4810, le M cerclé de l’étoile Montblanc, puis un P en écriture ornée en dessous. La forme flat-top du stylo qui va en s’effilant légèrement est sobre, discrète, élégante et bien équilibrée, c’est ce qui, à côté des qualités espérées de la plume, m’a tout de suite séduit.

Ce modèle a commencé sa carrière avant la guerre. Il y en a eu de nombreuses variantes, sommet du capuchon plus long (ce qui est plus harmonieux à mon goût), différents clips dont celui, classique, qui ressemble à une aiguille de montre, différentes bandes de capuchon gravées ou non…

C’est là où cela devient amusant. Le vendeur annonce un stylo de 1950. Après vérification avec lui, il semble dater plus précisément des années 46-48, années où la plume d’origine aurait dû être en acier, restrictions de l’après-guerre obligent. Ce n’est pas une plume en or, le P estampé sur la plume fait rapidement penser qu’elle est en palladium. Ces plumes en palladium ont été fabriquées en 1938 pour remplacer celles en or, ce dernier étant réservé à l’effort de guerre : la plume a donc vraisemblablement été échangée. Quelques autres discussions avec le vendeur, sur FPN, quelques échanges de mails avec des spécialistes sur la forme et les attributs permettent à l’apprenti Sherlock de se familiariser un peu avec l’histoire de la marque. On voit bien qu’en ces temps difficiles certaines pièces d’avant ou pendant la guerre ont encore été utilisées après.

La plume maintenant. C’est donc une plume fine en palladium, très souple et très flexible. C’est une plume de gourmet : elle est très douce, souple presque à la limite de la mollesse, et pourtant elle reste précise et incisive. Le trait est très fin avec une main légère, la variation devient importante dès qu’on appuie. Une plume délicieuse et subtile, au caractère différent des autres que j’affectionne, certainement parmi celles-ci une des plus délicates. C’est ma seule plume en palladium, je ne sais pas si d’autres partagent ses qualités. Le stylo écrit remarquablement bien, je l’imagine parfaitement fiable, même si le piston demandera un peu d’attention lors de sa manipulation.

C’est un petit bonheur d’écrire longuement la nuit avec ces vieux stylos et ces belles plumes avec toujours le sentiment qu’elles apportent lentement la paix à la main et à l’esprit. Colette qui, dit-on, aimait écrire au Meisterstück, utilisait peut-être un de ces stylos…

Peu, sinon pas du tout sensible aux Montblanc modernes, je n’aurais pas pensé en acheter un jour. Les qualités de la plume dépassent mes attentes, elle est vraiment très plaisante. Financièrement, ce beau 134 qui précède immédiatement les séries à la forme torpédo des Meisterstück d’aujourd’hui inchangée depuis le début des années 50 est encore abordable, les modèles plus gros, 136, 138 (rare), 139 étant plus recherchés et beaucoup plus chers comme c’est souvent le cas avec les modèles imposants. La marque est beaucoup collectionnée, ce qui implique des prix souvent élevés pour certains modèles vintage. Je ne suis pas, on l’aura compris, un spécialiste, mais après avoir regardé d’un peu plus près, on trouve également très facilement de nombreux modèles de qualité d’avant 1970, voire d’avant-guerre montés avec de belles plumes à des prix plus que raisonnables.

Il y a finalement assez peu d’information exhaustive sur les Montblanc vintage. Un bon point de départ, comme l’avait signalé Bluebird il y a quelque temps, ce message en en-tête du forum FPN.

Il existe un livre de référence sur les Montblanc de 1946 à 1979 : « Collectible stars » de Jens Rösler et Stefan Wallrafen (2001, allemand/anglais).

Une photo sur fond d’un portrait de Colette par Gisele Freund (dans « Itinéraires », Albin Michel, 1985) avec un exemple d'écriture. On verra bien mieux le stylo sur les pages du blog de Carlos SanchezAlamo. Le 134 est très bien photographié à la fin de cette page. S’il est des vendeurs que je recommande très chaudement, Carlos en fait partie.

Vos éventuels commentaires, questions, additions, précisions ou rectifications sont les bienvenus.

Jimmy

© Jimmy Péguet

Conway Stewart 22 "Floral pen", c.1955

2009-05-09T09:53:00.000-07:00

Español

Realized by one of the most popular manufacturers of England in the last century, the Conway Stewart fountain pen 22 belongs to a group of pens that had no commercial success and that ceased to be produced soon after their launch.
Today it's a pen that is hard to find, few copies were produced* and few have survived: the material used, plastic and casein, turned out to be very fragile. Because of time and the effect of the ink and the interior rubber sac, the original white color often became yellow.

When Conway Stewart started making this model in the 50's, between 1955 and 1957, the business of the fountain pens was going through one of the most difficult moments in its history. The ball-point, introduced massively at the end of the 40's by Reynolds and Eversharp, was the protagonist and the fountain pen was pushed into the background.

The response of Conway Stewart to these difficulties was an original initiative, but turned out to have no success at all. Imitating the traditional English porcelain, Conway Stewart introduced the model 22, today called "Floral Pen " by the collectors.

Perhaps for design or perhaps to save costs of production, the pen was made from a white tube covered by a thin layer of transparent plastic.

The model is not excessively big, possibly meant for women, measuring 12,2 cm closed, and using the typical clip in the shape of a diamond, introduced by the mark at the end of the 30's, and using the reliable Conway Stewart lever system.

One of the characteristics to distinguish the "Floral Pen ", except for its color, is its nib number 5 and its Greek cap ring, a design only used by Conway Stewart for this model and for the " Speedy Phil " model, made between 1957 and 1959, called this way because of its particular filling system, very similar to Sheaffer's Touchdown pens.

My pen is in an exceptional condition, perhaps never used, in its box, with its guarantee and the original Conway Stewart rubber sac. A beautiful quality fountain pen.

Today this model has been re-edited in 2005 in a limited edition by the new Conway Stewart Company, according to the characteristics of the original pen, but this time made of lacquer.

* There's the question wether if there were 200 or 2000 copies made. In my humble opinion and based on the times I've seen this kind of pen in either sale or exhibition, and also in the opinion of other collectors, I think they were making a precise number of copies, rather around 2,000.

Conway Stewart 22 "Floral pen", c.1955

2009-05-09T07:33:00.000-07:00

English

Realizada por uno de los fabricantes más populares de Inglaterra del siglo pasado, la estilográfica Conway Stewart 22 pertenece a ese grupo de plumas que no tuvieron éxito comercial y que dejaron de ser fabricadas poco tiempo después de su lanzamiento. Hoy es un modelo difícil de encontrar, pocos ejemplares se fabricaron* y pocos han sobrevivido: el material utilizado a base de plástico y caseina resultó ser muy frágil y con el paso del tiempo y el efecto de la tinta y el saco interior en caucho, el color pierde su blanco original y se vuelve amarillo.

Cuando Conway Stewart fabricó este modelo en los años 50, entre 1955 y 1957, el mundo de la estilográfica pasaba por uno de los más difíciles momentos de su historia. El bolígrafo, introducido masivamente a finales de los años 40 por Reynolds y Eversharp, era el protagonista y la estilográfica se encontraba en un segundo plano.

La respuesta de Conway Stewart ante este mercado difícil fue original pero sin éxito. Imitando la tradicional porcelana inglesa, la marca inglesa introdujo el modelo 22, llamado hoy por los coleccionistas "Floral Pen".

Quizás por cuestiones de diseño o quizás con la idea de abarajar costes de producción, la pluma está realizada a partir de un tubo blanco de color blanco recubierto por una fina capa de plástico transparente.

El modelo no es excesivamente grande, posiblemente dirigido a un público femenino, midiendo 12,2 cm cerrado y utiliza el típico clip en forma de diamante introducido por la marca a finales de los años 30 y el sistema de carga a palanca, un sistema sencillo pero eficaz.

Una de las características para distinguir la "Floral Pen", a parte de su color, es su plumín número 5 y su anillo en el capuchón con motivo griego. Un motivo solamente utilizado por Conway Stewart en este modelo y en el modelo "Speedy Phil", fabricado entre 1957 y 1959, llamado así por su particular sistema de carga muy parecido al Touchdown de Sheaffer.

La estilográfica presentada está en un estado excepcional, quizás nunca utilizada, en su caja original, su garantía y conservando aún el saco original firmado Conway Stewart. Una estilográfica sin duda original, de calidad y de gran belleza.

Hoy este modelo ha sido reeditado en serie limitada por la nueva directiva de Conway Stewart, siguiendo las pautas de la pluma original pero fabricándola esta vez en laca.

*Existe un dilema entre si fueron 200 o 2000 ejemplares. En mi humilde opiniòn y basándome en las veces que he visto este tipo de estilográfica ya sea en venta o en exposición y en la opinion de otros coleccionistas , pienso que la fabricación -si hubo un número preciso de producción- estuvo más bien en torno a los 2000 ejemplares.

Trim restoration

2009-05-05T06:07:00.000-07:00

Now I offer (in collaboration with Penandco) a full range of re-plating services for your pens (cap, clip, ring.....).
To give you more informations about our know how, here is some elements given by our french specialist.

If you want to give us your pen for surgery...please contact us on:
csanchezalamo@yahoo.fr or contact@penandco.com

People often think that you only need to re-plate a cap or a clip to give it back its beauty of yesteryear … Unfortunately, plating a tarnished and stained ring will only result in getting a tarnished and stained gilded ring in the end …

The crucial and essential stage of renovation lies in preparation, masking and polishing. This is where arts craft and experience get their real meaning because the ring or cap ready for plating must be absolutely free from stains, already having its final sheen… The 24k gold (or silver) plating is nothing but the final touch and it makes no miracle : if you plate on a scratch you only get a plated scratch !!!

For us, polishing is the most stressful part because it’s a matter of a tenth of a second ; choosing the right polishing pads and polishing pastes is thus of prime importance. We use top-of-the-range equipment : a very strong sisal fibre pad for pre-polishing, a sewn cotton pad to complete the polishing and an un-sewn calico pad for sheen polishing ; all this with Menzerna polishing pastes of different colours. Add to these processes the tools and techniques that we developed all along our experience on collectors pens, a know how that we keep jealously …

BEFORE

AFTER

Then comes the plating stage …
We are the holder of a technique of selective electrolysis (also called electroplating) set up for the renovation of fragile and luxury items. We thus don’t have to fully damp the item in a bath, like ordinary platers do. We use the same electrical wiring system and the same chemical products, but we apply the products directly on the item to be plated.
This technique derives from a method solely used in high-tech industries and it’s fully adapted to our needs. The chemical products are neutralized and do not affect the pens’ ebonite or celluloid bodies; on average, they are 30 times more concentrated than the usual products …
Usually, a standard plating is made as follows :

Manual cleaning in order to remove any remaining polishing paste,
Electro-chemical cleaning,
Nickel’s chemical activation,
Copper-plating,
Nickel-plating,
Then only, 24k gold-plating or 925 silver-plating (all these products and layers are conform to jewellery standards),
Application of polishing, anti-scratch, anti-oxidation products …
This work sequence is adapted to the various alloys that are usually used in top-of-the-range pens :

Stainless steel clips that are directly plated with gold,
Stainless steel or sometimes brass nickel-plated rings that are later plated with gold.
For the most common pens :
- Clip and ring in "Spring Steel", a kind of steel with a very low carbon content that gives the metal a higher elasticity than standard steels, thus allowing extensive handling and twisting without risks.

BEFORE

AFTER

Why plating with 24k gold ?
It’s pure gold with a deep and strong colour worthy of a jewel …
But we also finish with 18k, 14k and 9k gold, therefore ranging from a warm colour to a more and more pale yellow gold.
We also finish with 18k white gold, green gold, pink gold, silver, copper, antique copper, triple layer chromium, and very soon platinum.

The sophistication of our plating process also enables us to finish any item in 2 shades. For instance a simple steel nib (or cap) can be finished with 24k gold or 18k white gold, whatever you imagine …
Any metallic surface can be plated, except aluminium …As for corrosion, it is due to fingers sweating, increased by the salt contained in this sudation … Add to this the ambient and ink’s moisture, you then have all ingredients for an oxidation to start …

With this wealth of know-how, we also work on other luxury and collectors items such as lighters, jewels, watches and any metallic item that needs a meticulous re-plating…

BEFORE

AFTER

BEFORE

AFTER

© Jean-Elie Sobolevicius from www.Penandco.com

2009-05-05T05:55:00.001-07:00

Español

The ‘Crocker Pen Company’ was founded in 1902 in Boston, Massachusetts, by Seth Sears Crocker, Seth Chilton Corker’s father and founder of the well known ‘Chilton Pen Company.
The ‘Crocker Pen’ was a small company which made excellent fountain pens of ebonite with a peculiar filling system : the ‘blow filler system’ (Mooney – another American brand founded by Frank H. Mooney, first settled up in Chicago and then in Toledo, Ohio- may have been the first to use this singular system). To fill the pen sac you had to blow through a simple hole placed in the end of the barrel, thus pressing the bladder. When you stopped blowing, the air kept inside the barrel went out through the hole, and the ‘suction effect’ made the ink go up the nib towards the inner sac. This kind of pens with this unusual system was also sold with a balloon which was placed at the end of the barrel, so that customers who found ‘blowing’ a little elementary could avoid it …

Advertisement

Exceptional Crocker #10 blow-filler Giant (the biggest made by the company) c.1915. Just two things to point at: a small protuberance at the end of the barrel and which was used to blow, and the word ‘turn’ with the drawing of a hand on the cap to show the direction to unscrew it. © Jean Buchser

Hard rubber Crocker blow filler pen © David Isaacson from www.vacumania.com

Cases and instructions to fill the Blow-filler pen and the Ink-Tite model

Along with typical ‘eyedropper’ and ‘blow-filler’, Crocker also manufactured the ‘hatched filler’ pens, whose mechanism was the same as the one invented by Sheaffer but for the hatch, which was located at the end of the barrel.

Crocker Ink-Tite hatchet-filler, model manufactured circa 1918

Hatched filler

Two Crocker hatched filler pens in ebonite © David Isaacson from www.vacumania.com

At the end of the 1920’s, all the patent rights were sold to Nicholas Zaino.

Crocker Zain #4 in Black ebonite, made at the end of the 1920’s

Nowadays, Crocker pens are difficult to find, and big models are certainly scarce. Even though the make did not have the prestige and name of big brands and it is today regarded as second rate, the quality of Croker pens is outstanding, turning them into highly valuable pens for collectors.

Crocker Ink-Tite, model in mint state made in the 1920’s. © Jean-Elie Sobolevicius de Penandco.com

For further information visit:

www.pensandwatches.com

www.kamakurapens.com

www.richardspens.com

www.richardspens.com

www.billspens.com

www.vintagepens.com

www.achaikin.com

Translation by Susana Domínguez

LeBoeuf Pilgrim, mint condition with the original box and nib sticker, thumb filler, c.1937

2009-05-05T05:48:00.000-07:00

Namiki Crane and Turtle fountain pen, Nippon Art Collection, Hira-Maki-e technique on black lacquer, c. 2007

2009-04-18T23:48:00.000-07:00

The Crocker Pen Company

2009-03-24T03:19:00.000-07:00

English

The Crocker Pen Company fue fundada en 1902 en Boston, Massachusettes por Seth Sears Crocker, padre de Seth Chilton Crocker, fundador de la conocida Chilton Pen Company.
The Croker Pen fue una pequeña compañía que fabricó excelentes estilográficas en ebonita con un curioso sistema de llenado, el "blow filler system" (Mooney -otra marca americana fundada por Frank H. Mooney situada en Chicago y después en Toledo, Ohio- fue quizàs el pionero de este singular sistema). Para cargar el saco de la estilográfica había que soplar a través de un simple agujero situado al final del barril comprimiendo así el saco de caucho, al dejar de soplar, el aire retenido en el barril salía por el agujero y producía una succión de aire haciendo que la tinta subiera a través del plumín para alojarse en el saco interior. Este tipo de estilográficas con este curioso sistema se vendía también con un globo que se colocaba al final del barril, destinado a todos aquellos usuarios que encontraban que soplar era un poco "arcaico" ...

Anuncio de la época

Excepcional Crocker #10 blow-filler Giant, modelo gigante (el màs grande realizado por la marca) fabricado alrededor de 1915. Destacar la pequeña protuberancia al final del barril que servía para soplar y la palabra "Turn" con el dibujo de la mano en el capuchón para saber la dirección para desenroscar © Jean Buchser

Crocker blow filler pen en ebonita © David Isaacson from www.vacumania.com

Cajas e instrucciones para cargar el Blow-filler pen e Ink-Tite model

Junto con las típicas "eyedropper" y las "blow filler" Crocker frabricò también estilográficas "a palanca", las "hatched filler", su funcionamiento era el mismo que el sistema inventado por Sheaffer pero con la diferencia que la palanca estaba ajustada al final del barril.

Crocker Ink-Tite hatchet-filler, modelo fabricado alrededor de 1918

Hatched filler

Dos Crocker hatched filler pens en ebonita © David Isaacson from www.vacumania.com

A finales de los anos 20 los derechos y todas las patentes de la marca fueron vendidos a Nicholas Zaino.

Crocker Zain #4 en ebonita negra, fabricada a finales de los años 20

Hoy las estilográficas Crocker son difíciles de encontrar, ciertamente los grandes modelos son muy escasos. Aun cuando la marca no tuvo el prestigio de las grandes marcas y hoy está relegada a un segundo plano, la calidad de las Crocker es evidente siendo plumas ciertamente muy valoradas en una colecciòn.

Crocker Ink-Tite, modelo en estado nuevo fabricado en los años 20. © Jean-Elie Sobolevicius de Penandco.com

Para màs informaciòn visitar:

www.pensandwatches.com

www.kamakurapens.com

www.richardspens.com

www.richardspens.com

www.billspens.com

www.vintagepens.com

www.achaikin.com

Parker Oversize Vacumatic in Green Laminated, metal lockdown filling system, 1938

2008-05-11T11:06:00.001-07:00

Leboeuf #6 in grey pearl celluloid, thumb filler, c.1929

2008-05-11T04:27:00.000-07:00

Carter 9117 oversize fountain pen in jade green Coralite, c.1928

2008-05-11T04:23:00.001-07:00

Wahl Tempoint #12 in black chased hard rubber, eyedropper pen, c.1920

2008-05-11T04:04:00.000-07:00

Chilton Boston full size, red top and bottom in black line chased hard rubber, mint condition with original price sticker, 1925

2008-05-11T03:50:00.000-07:00

Conklin #75 in black chased hard rubber, mint condition with the original price sticker, c. 1920

2008-04-10T09:17:00.000-07:00

Leboeuf #8 black and bronze, thumb filler, c.1929

2008-04-10T09:15:00.000-07:00

Carter #7 oversize fountain pen in red hard rubber, c.1926

2008-04-10T09:04:00.000-07:00

Carter #7 fountain pen in black hard rubber, c.1926

2008-03-24T10:28:00.000-07:00

SanchezAlamo: vintage pens collector

2007-12-12T06:36:00.000-08:00

A principios de 2007 decidì crear mi propio site con la intenciòn de compartir mi pasiòn por las estilogràficas antiguas con otros aficionados. Poco a poco iré añandiendo màs informaciòn sobre las diferentes marcas y modelos importantes que han marcado la historia de los instrumentos de escritura.

I created this site at the beginning of 2007 with the idea of sharing my passion for vintage pens with other amateurs. I will regulary add more information about vintage pens.

J'ai créé ce site au début de l'année 2007 avec l'intention de partager avec d'autres amateurs ma passion pour les stylos plumes anciens. Regulièrement j'ajouterai plus d'information concernant les differentes marques et modèles importants dans l'histoire du stylo plume.

Gracias por su visita, Carlos SanchezAlamo

Contact

Criterios para valorar las plumas antiguas

2007-12-12T06:32:00.000-08:00

Los criterios que dan valor a una pluma antigua son muchos y diversos y evidentemente muy relativos. Voy intentar sin embargo enumerar los que en mi opiniòn hacen de una pluma antigua un objeto de escritura de valor.

El nùmero de ejemplares que hayan sido fabricados de un determinado modelo es uno de los màs importantes criterios para determinar la rareza de una pluma antigua. Otros criterios son la importancia que ese mismo modelo tenga en la evoluciòn de la marca o en la historia de las estilogràficas asì como el estado de conservaciòn de la pluma.

Por ejemplo, las plumas Duofold Mandarin de Parker fueron un desastre comercial y Parker dejò de fabricarlas al cabo de muy poco tiempo, esto hizo que se fabricaran muy pocos ejemplares de este modelo. Por consiguiente hoy una Duofold Mandarin es màs difìcil de encontrar que el mismo modelo en rojo.

Otro criterio para determinar la rareza de una estilogràfica antigua es la importancia que un determinado modelo tenga en la evoluciòn de la marca o en la historia de las estilogràficas. Asì plumas tan exclusivas como las Crescent Filler de Conklin, las Lifetimes de Sheaffer o las Duofold de Parker que crearon una verdadera revoluciòn y "un antes y un después" tienen màs valor que los modelos de las otras marcas de la misma época.

Otro criterio importante es el el estado de conservaciòn de la pluma. Una pluma fabricada en celuloide con el color en perfecto estado, sin partes màs oscuras que otras tanto en el cuerpo como en el capuchòn aumenta considerablemente su valor. Los colores jade o negro y perla son fàciles de encontrar con fisuras o con partes màs o menos descoloridas; encontrar las mismos colores en perfectas condiciones es màs difìcil. Teniendo en cuenta que la celuloide fue utilizada a partir de los años 20 hasta los años 50 aproximadamente y que era un material bonito y ligero pero fràgil e inestable, es fàcil darse cuenta de la importancia que tiene el hecho de encontrar una pluma con un color perfecto.
Otro detalle importante son las fisuras, golpes, arañazos, etc que podamos encontrar en la superficie de la estilogràfica. Asì como el hecho de encontrar completos y en el mejor estado las inscripciones de la marca.
La originalidad del plumìn, del alimentador, etc también debe tenerse en cuenta a la hora de valorar la rareza: una pluma Leboeuf con un plumìn Warranted no tiene el mismo valor que el mismo modelo con un plumìn Leboeuf original. Tambièn el hecho de encontrar la pluma con su caja original, las instrucciones de uso originales, etc aumenta considerablemente la importancia.

Por ùltimo, las plumas recubiertas con metal como el oro o la plata o aquellas fabricadas con colores raros tienen màs importancia que las plumas fabricadas en ebonita negra.

Aunque lo importante es comprender que el valor que cada persona da a una estilogràfica es muy relativo, los criterios que he intentado explicar nos ayudan a comprender su importancia en la historia de los instrumentos de escritura.
Con un poco de paciencia y la lectura de los libros escritos por otros coleccionistas la recompensa de encontrar una pluma antigua con cierto valor no es tan difìcil.

Wahl Eversharp Oversize Deco Band in Jade Green, mint condition, original nib sticker, c.1929

2007-12-10T00:14:00.000-08:00

Sheaffer PFM V, black barrel and gold filled cap in lined pattern. 14k Extrafine-fine nib, original box and paper, c.1959

2007-12-10T00:11:00.000-08:00

John Hancock RL-12 copper cartridge-filler pen, bhr, bright red casein trim ring, mint condition with the original box, c.1925

2007-12-10T00:09:00.001-08:00

SanchezAlamo: vintage pens collector

2007-11-27T04:57:00.001-08:00

Hoy he añadido tres nuevas plumas en el apartado PEN FOR SALE: una rara Parker click filler (el primer sistema automàtico de recarga utilizado por Parker), una maravillosa Chilton Boston, y una Postal Pen en un estado impecable. Todas vienen de mi propia colecciòn. No dude en contactarme si necesita màs informaciòn.

Gracias por su visita, Carlos SanchezAlamo

Libros y catálogos sobre Estilográficas

2007-11-27T04:14:00.000-08:00

Estos son algunos de los libros màs importantes que se han escrito sobre las plumas y los instrumentos de escritura antiguos. Encontrarlos no es difìcil: algunos se venden en Ebay, la mayorìa en los sites para estilogràficas que existen.

• Fountain Pens of the World, by Andreas Lambrou

• Parker “51”, by David and Mark Shepherd

• Mabie in America (Third Edition), by David L. Moak

• The Chronicle of the Fountain Pen: Stories Within a Story, by João P. Martins, Luiz Leite, & António Gagean

• Fountain Pens and Pencils : The Golden Age of Writing Instruments, by George Fischler and Stuart Schneider

• The Book of Fountain Pens and Pencils, by George Fischler and Stuart Schneider

• The Illustrated Guide to Antique Writing Instruments, 3rd Edition, by Stuart Schneider and George Fischler

• Fountain Pens : United States of America and United Kingdom, by Andreas Lambrou

• Fountain Pens : Past and Present (revised edition) by Paul Erano

• Pens and Pencils, A Collector’s Handbook, by Regina Martini

• Collectible Fountain Pens, by Juan Manuel Clark

• Fountain Pens : Their History and Art, by Jonathan Steinberg

• Fountain Pens: History and Design, by Giorgio Dragoni

• Fountain Pens : Parker Sheaffer Wahl-Eversharp Waterman, by Glen Bowen

• Pens & Writing Equipment: A Collector’s Guide, by Jim Marshall

• Pen, Ink, & Evidence: A Study of Writing and Writing Materials for the Penman, Collector, and Document Detective, by Joe Nickell

• Parker Duofold by David Shepherd & Dan Zazove

• Vintage Pen Literature Reprints by Bill Acker

• The Technical Pen, by Gary Simmons

• Collecting Writing Instruments: From the Flint Tool to the Stylus : From the Quill Pen to the Fountain Pen and Felt-Tip Marker, by Dietmar Geyer

• Pelikan Writing Instruments 1929-2004 by Jurgen Dittmer and Martin Lehmann. Translated into English by Marjalin D'hose

• The Fountain Pens of Esterbrook by Paul Hoban

• A Passion for Pens by Pierre Haury & Jean-Pierre Lacroux

• Fountain Pens by Jonathan Steinberg

• Fountain Pens the Complete Guide to repair and restoration, by Frank Dubiel

• The Incredible Ball Point Pen. A Comprehensive History and Price Guide by Henry Gostony & Stuart Schneider

• Collectible Stars Montblanc Writing Instruments from 1946 until 1979. Written and published by Jens Rosler & Stefan Wallrafan

• Victorian Pencils Tools to Jewels by Deborah Crosby

• Waterman Safety. The Art of Overlay in Italy 1900-1940 by Maurizio Dansi, Letizia Jacopini & Enzo Verduci

• Fountain Pen Catalog Copies by Bill Acker.

Mabie Todd "Swan" Eternal #46 set in mhr

2007-11-16T00:43:00.000-08:00

Leboeuf #90 set in grey marble, #8 Leboeuf nib, lever filler pen, c.1928

2007-10-31T02:32:00.000-07:00

Laughlin eyedropper pen in black and red mottled hard rubber, c.1904

2007-10-31T02:09:00.000-07:00

AA Waterman Modern in mottled hard rubber, middle joint eye-dropper fountain pen, c.1910

2007-10-31T01:48:00.000-07:00

The AA Waterman Pen Company fue fundada en 1897 en Nueva York por Arthur A. Waterman, quien no tenía ningún parentesco con Lewis Edson Waterman.

Alrededor de 1905, Arthur A. Waterman debió retirarse de su propia compañía a raíz de un proceso con dos accionistas de la empresa, quienes continuaron fabricando plumas y utilizando el mismo nombre de la marca.

En 1912, Lewis E. Waterman llevó ante los tribunales la A.A Waterman Company, forzàndola a inscribir en todas las plumas la siguiente frase: "Not connected with the LE Waterman Company". El hecho de dejar claro ante los posibles clientes la no conexión con la conocida y reputada L.E. Waterman, tuvo consecuencias bastantes negativas para A.A Waterman y en torno a 1920, la marca desapareció.

Arthur A. Waterman fabricó plumas a cuentagotas así como uno de los primeros "self-fillers" del siglo XX, el "twist filler system", utilizado en torno a 1905 hasta 1920. El saco al interior del barril estaba unido a una barra la cual "torcía" el saco para llenarlo. En la página "Pens sold" pueden verse dos ejemplares que funcionan con este sistema de llenado.

La marca fabricó plumas de excelente calidad, las más buscadas hoy son las plumas "overlays" por su belleza. Otros modelos fueron "Lincoln", "Modern", "Resevo".

Mi pluma es un modelo Modern "eyedropper", a cuentagotas, "middle joint', una tentativa para impedir las manchas en los dedos. La apertura para el llenado se hace a la mitad del barril. Fabricada en ebonita jaspeada, este tipo de pluma se fabricó en torno a 1902 hasta 1912.

Para màs informaciòn,

visitar: http://www.pensandwatches.com/_pages/pen_company_photos/waterman_AA_pen_company.htm
leer:
• Fountain Pens of the World, by Andreas Lambrou
• The Chronicle of the Fountain Pen: Stories Within a Story, by João P. Martins, Luiz Leite, & António Gagean
• Fountain Pens and Pencils : The Golden Age of Writing Instruments, by George Fischler and Stuart Schneider
• The Book of Fountain Pens and Pencils, by George Fischler and Stuart Schneider

Eagle dip pen in lacquer brass with Pennsylvania System No. 3 nib, c.1887

2007-10-31T01:45:00.000-07:00

LeBoeuf #75 CocoBolo set, #8 LeBoeuf nib, lever filler pen, c.1927

2007-10-31T01:44:00.000-07:00

Leboeuf #75 tigereye #8 fountain pen, c.1928

2007-10-30T09:43:00.000-07:00

Waterman 94 set in Olive Ripple, price sticker on the pencil, c.1926

2007-09-23T11:43:00.000-07:00

Carter 4117 oversize set, in black and red mottled hard rubber, c. 1926

2007-09-23T11:39:00.001-07:00

Circa 1926: Waterman 94 fountain pen in Olive Ripple

2007-09-23T11:31:00.000-07:00

Eagle glass cartridge pen, in lacquer brass, hexagonal shaped, c.1890

2007-09-23T11:24:00.000-07:00

Security Pen #4 in black chased hard rubber, c.1920

2007-09-20T01:34:00.000-07:00

Recordando a Al Mayman

2007-09-17T06:25:00.000-07:00

I am so sad to hear that Al Mayman passed away. I had to pleasure dealing with him at several occasions and I have never been disappointed.
I knew Al in 2006 while visiting his website "Penultimate". I really appreciated Al's website. He really had great pens. Al was one of the best professional dealers of vintage pens I know. I had the chance to meet him at the New Jersey Pen show last year. It was always pleasant dealing with him. He was always very active on this website as much as on Ebay. All the pen collectors like me will miss him very much.
My sincere condolences to his family.

I bought a lot of vintage pens from Al, below I post a picture of a few of them. Gracias Al.

History of the fountain pen

2007-09-16T09:03:00.001-07:00

Since I started collecting vintage fountain pens, I have often had difficulty finding a sort of chronology to help me classify them. For this very same reason I would like to be helpful to other collectors who are as passionate as I am. If you have any other information to share or suggestions to make, I will be grateful to you all. Thank you in advance, Carlos SanchezAlamo

1837 November 20th, birth of Lewis Edson Waterman in Decatur, Otsego County, New York
1843 21st November Thomas Hancock registered a patent for the vulcanisation of rubber using sulphur.
1863 24th June Charles Goodyear registered a patent for rubber vulcanisation. Material used for making the fountain pens until 1930's
1863 November 1st, birth of George Safford Parker in Shullsburg, Wisconsin
1867 July 27th, birth of Walter A. Sheaffer in Bloomfield, Iowa
1864 Invention of the Siphoïde (ancester of the fountain pen) in France by Jean Benoït Mallat
1882-1884 Invention of the first reliable ink feed for a fountain pen by L.E. Waterman.
1884 February 12th, First patent of Waterman for his channel ink feed. For many collectors this is the date of the creation of the real fountain pen
1884 Waterman formed the Ideal Pen Company with his customer Asa Shipman
1884-1928 Eyedropper filling used by Waterman
1887 Waterman formed the L.E. Waterman Pen Company
1890 Invention of the glass cartridge pen by Eagle
1894 Lucky Curve feed by Parker
1996 September 8th Mooris W. Moore of Holyoke, Massachusetts patented a pen with a retractable nib (Safety pen)
1897 Foundation of the A.A. Waterman Pen Company in New York City by Arthur A. Waterman, who was no relation to L.E. Waterman. Roy Conklin invented a self-filling pen: the Crescent Filler
1897Foundation of the Self-Filling Fountain Pen Company by Roy Conklin in Toledo, Ohio. One year later the same company became The Conklin Pen Manufactiring Company
1899 Spoon feed by Waterman. 1st style Pump filling used by Waterman. Foundation of the American Fountain Pen Company and began producing the Non-Leakable line of Moore's Pens
1901 Death of Lewis Edson Waterman. July 16th, Seth S. Crocker patented a blow filler plen
1901-1928 Crescent Filler by Conklin
1902 Foundation of the Crocker Pen Company on Massachusetts by Seth S. Crocker
1903-1926 2nd style Pump filling used by Waterman
1904 First self filling desing by Parker
1904-1907 New Lincoln pen (a regular eyedropper filler pen) by A.A. Waterman
1907-1940s Safety pen used by Waterman. Arthur A. Waterman was forced out of the company by two of his investors, who continued production using the AA Waterman name
1908 Patent of Sheaffer for a lever filler. Foundation of The Simplo Filler Pen Company (later Montblanc)
1910-1915 Sleeve Filler used by Waterman
1912 The Jack-Knife Safety pen by Parker
1913 Foundation of the Sheaffer Pen Company. Button filling by Parker
1913-1914 Coin Filler used by Waterman
1913-1916 Disappering clip by Parker
1914 Russell Parker came into the family business. Wahl bought the Ever-Sharp Pencil Company and became The Wahl Eversharp Company
1915-1955 Lever Filler used by Waterman
1916 Washer clip by Parker
1917 Wahl acquired the Boston Fountain Pen Company. The American Fountain Pen Co. wer reorganized as the Moore Pen Company
1918-1922 Tempoint by Wahl
1918 Moore began making lever filling pens under the Boston patent. Frack Leboeuf patented a manufacturing process through which pens were produced from celluloid tubing.
1919 Kenneth Parker joined the family company
1920 Lifetime guarantee fountain pen by Sheaffer
1921 Duofold by Parker. Wahl introduced all metal pens to match its line of Eversharp pencils
1922 Deluxe Duofold by Parker
1923 Ripple by Waterman. "Lifetime" white dot by Sheaffer. First Black Duofold by Parker. "Signature" pen by Wahl. Seth C.Crocker, son of Seth S.Crocker, started another pen company: The Chilton Pen Company of Boston Massachusetts and began to make pump filler pens
1923-1924 First lever filling pen by Conklin and Conklin Duragraph
1924 Introduction of the celluloid (called "Radite") pen in jade green color by Sheaffer. Meisterstück by Montblanc. Eternal by Mabie Todd
1924-1932 Endura by Conklin
1925-1932 Second lever filling by Conklin
1925-1929 Red Dot guarantee by Moore
1926 #7 and #5 hard rubber Ripple pen with colored band around the top of the cap by Waterman. Introduction of the Apple green by Parker, this is the first Parker celluloid (permanite) pen. Carter's started producing fountain pens. The Chilton Pen Company moved to Long Island City, New York and the same year began producing plastic pens
1927 Moore began to make plastic pens. Chilton changed slightly his filler so that instead of the entire barrel moving up to pump
1928 Rose Ripple, Olive Ripple and Blue-Green Ripple by Waterman
1929 Balance by Sheaffer. Julius Schnell began production of the Schnell Penselpen. Deco band pens and Personal point nib by Wahl Eversharp. Pelikan 100
1929-1938 The name and patents of the Crocker Pen Company were sold to Nicholas Zaino
1930 Endura Symetrik by Conklin
1931 Conklin Nozac designed by Louis Vavrik. Equipoised by Wahl Eversharp. Thumb-filler model by Leboeuf
1930-1931 Patrician by Waterman
1931 Doric by Wahl Eversharp. The plastic (celluloid) Rheingolds models by Soennecken
1932 Aikin Lambert Co. was absorbed by Waterman. Chilton moved from Boston to Long Island City, New York. Rappen by Pelikan
1933-1938 Plastic #7 by Waterman
1933-1948 Vacuum-Filler by Parker later named Parker Vacumatic
1934 Sheaffer began making a pump filler in reponse to the Parker Vacumatic
1935-1940 Ink-Vue by Waterman. Wing-flow model by Chilton
1936 Glass cartridge pen by Jiff Waterman. Visofil by Mabie Todd
1935-1940 The Ink-Vue pen by Waterman
1936 Coronet by Wahl Eversharp
1938 Pelikan 100N. The Conklin Fountain Pen Company was sold to a Chicago syndicate
1939 Carter's stopped making fountain pens. The Blue Diamond, the guaranteed for life by Parker. Crest model by Sheaffer. Imperial Vacumatic by Parker
1940 The Wahl Company was merged with its subsidiary Eversharp Inc.
1941 Parker 51
1941-1949 Skyline by Eversharp
1942 Triumph nib by Sheaffer
1942-1946 Commando pen by Waterman
1944 Fifth Avenue by Eversharp
1946-49 Emblem pen by Waterman. CA (Capillary Action), the first ball-point by Eversharp
1946-1950 Fingertip Pen by Moore
1949 Touchdown filling by Sheaffer
1948-1965 Parker 21
1950 Eversharp Symphony pen designed by Raymond Loewy
1950-1956 Specialist by Moore
1952-1963 Snorkel filling by Sheaffer
1952 The 222 series by Soennecken
1954 CF (Cartridge Filler) pen by Waterman. Parker Jotter, the first ballpoint by Parker. The 111 series by Soennecken
1957-62 Parker 61
1957 Eversharp Inc. sold its complete writing instruments division to the Parker Pen Company
1959-1963 The PFM (Pen for Men) by Sheaffer
1960-1980 Parker 45. Imperial by Sheaffer
1962-1964 Parker VP (Very personel)
1964-1983 Parker 75
1970-1971 Parker T1

2007-09-16T08:41:00.001-07:00

Me llamo Carlos Sànchez-Alamo Pérez, nacì en Madrid en 1975. En 1999 me mudé a Parìs, donde vivì hasta el año 2007. Ahora vivo en La Charité sur Loire, un pueblo muy bonito en la regiòn de la Nièvre, cerca de Nevers y Bourges. Soy encuadernador de arte, aficionado al arte abstracto, y apasionado por los libros de bibliofilia y las plumas antiguas. En 2006 creé junto con mi mujer Els Baekelandt, calìgrafa, nuestra propia pàgina en internet con la idea de mostrar nuestros trabajos, puedes visitarla en la siguiente direcciòn elscarlos.com

My name is Carlos Sánchez-Álamo Pérez, and I was born in Madrid in 1975. In 1999 I moved to Paris, where I lived until 2007, and at present I´m living in La Charité sur Loire, a beautiful village in the region of Nièvre, near Nevers and Bourges. I'm an art bookbinder, I'm very keen on abstract art, as well as an amateur at its plastic expression, and I have a passion for artist and bibliophile books, not to mention old, vintage pens. It was my wife Els Baekelandt, a calligrapher, who introduced me in the wonderful world of vintage pens. In 2006 we decided to design our own website in order to show everybody our work. You can visit it at elscarlos.com

Contact

2007-07-04T14:57:00.001-07:00

My modest fountain pen collection is quite ecclectic. However, it tends to consist of rare and old pens made before the 40's -except for a few ones- all of them in mint or near mint condition.

As a vintage pens collector I am especially interested in pens such as oversized LeBoeufs.
If you want to contact me, please write to me on my address Contact

- LeBoeuf #75 in Black with White ends, #8 LeBoeuf nib, lever filler pen, c.1927
- LeBoeuf #75 CocoBolo, #8 LeBoeuf nib, lever filler pen, c.1927
- LeBoeuf #90 set in grey marble, #8 LeBoeuf nib, lever filler pen, c.1928
- LeBoeuf #75 in Red with Cream Flecks fountain pen, #8 LeBoeuf nib, lever filler pen, c.1928 New
- LeBoeuf #75 in grey and white swirl celluloid, #8 LeBoeuf nib, lever filler pen, c.1928 New
- LeBoeuf #75 tigereye fountain pen, #8 LeBoeuf nib, lever filler pen, c.1928
- LeBoeuf #8 black and bronze, thumb filler, c.1929
- LeBoeuf #6 in grey pearl celluloid, thumb filler, c.1929
- LeBoeuf #8 in grey and white swirl celluloid, thumb filler, c.1929
- LeBoeuf desk set in Lavender Pearl, mint condition with the original box, thumb filler, c.1929 New
- LeBoeuf #8 in black and bronze, sleeve filler, c.1932
- LeBoeuf #8 set in Lavender Pearl, original box, sleeve filler, c.1932
- LeBoeuf Pilgrim, mint condition with the original box and nib sticker, thumb filler, c.1937

My other pens:

- Eagle dip pen in lacquer brass, with Pennsylvania System No. 3 nib, c.1887
- Eagle glass cartridge pen, in lacquer brass, hexagonal shaped, c.1890
- Waterman 412 1/2 in sterling silver filigree c.1905 New
- Security Pen #4 in black chased hard rubber, c.1920 New
- Wahl Tempoint #12 in black chased hard rubber, eyedropper pen, c.1920 New
- Carter #7233 ring-top set in brown Coralite, c.1927
- Waterman Glass Cartridge-fill in Reddish/Brown Pearl, mint condition with the original labels, c.1932 New
- Parker Oversize Vacumatic in Green Laminated, metal lockdown filling system, 1938 New
- Parker 51 vacumatic double jewel, in black lucite with Heritage or "window pane" gold filled cap and 14k blue diamond clip and tassie. 14k Fine nib, 1946
- Moore Fingertip fountain pen in autumn pearl celluloid, c.1946 New
- Sheaffer PFM V, black barrel and gold filled cap in lined pattern. 14k Extrafine-fine nib, original box and paper, c.1959
- Namiki Crane and Turtle fountain pen, Nippon Art Collection, Hira-Maki-e technique on black lacquer, c. 2007 New

Wahl Eversharp GS Personal Point in coral, mint condition with the original price stycker, c.1929

2007-07-04T14:53:00.001-07:00

Waterman Ink-Vue Deluxe in Copper Ray, Purple Keyhole nib, c.1935

2007-07-04T13:50:00.000-07:00

Leboeuf #8 in black and bronze, sleeve-filler pen, c. 1932

2007-05-29T09:20:00.001-07:00

LeBoeuf #8 set in Lavender Pearltex, original box, sleeve filler, c.1932

2007-05-03T05:18:00.001-07:00

Parker #25 Lucky Curve in mottled hard rubber, eye-dropper pen, c.1910

2007-05-03T05:07:00.002-07:00

Magnìfica pluma comprada a David Nishimura en el Salòn de Parìs en mayo de 2007. Quizàs una de las plumas màs bonitas que tengo, tan grande como una Duofold Senior, su estado de conservaciòn es excelente y su conducto Lucky Curve està intacto.

Wahl Signature Pen oversize in mottled hard rubber, c.1920

2007-05-03T05:07:00.001-07:00

Sheaffer Lifetime Senior in jade green Radite, mint condition with the original price sticker and Sheaffer Lifetime box, c.1924

2007-05-03T05:01:00.000-07:00

Conway Stewart 770M and pencil #1 set in mottled hard rubber with the original CS box, c.1927

2007-05-02T07:24:00.000-07:00

J.G. Rider Master pen in mhr, eye-dropper pen, c.1910

2007-05-02T07:10:00.001-07:00

The J.G. Rider company was founded in 1905 and disappeared twenty years later. He made special eyedropper pens with a special clip on the cap that could be used to hook the feed out of the pen, allowing you to fill it with an eyedropper. The pen is in superb condition and its original fine nib, retipped by Greg Minuskin, writes very well.

Chilton Boston oversize, in black and red mottled hard rubber, mint condition with the original price sticker, 1925

2007-05-02T07:09:00.007-07:00

Parker Duofold senior in red permanite, original box and paper, c.1926

2007-05-02T07:09:00.001-07:00

Wirt #2 mottled hard rubber cable twist, c.1905

2007-05-02T07:08:00.003-07:00

Leboeuf set in black and bronze, #6 Leboeuf nib, sleeve filler, c.1929

2007-05-02T07:08:00.001-07:00

Conway Stewart 22 Floral pen, CS #5 nib, mint condition with original box and paper, c.1955

2007-05-02T07:06:00.000-07:00

Waterman 412 1/2 in sterling silver filigree c.1905

2007-04-28T05:22:00.000-07:00

Estilográficas vendidas

2007-04-27T02:30:00.000-07:00

A collection is constantly in evolution, it is never perfect, the taste changes and therefore I wanted to show the pens I sold, sometimes exchanged. Most of them were in excellent condition, I liked them very much, but sometimes it's necessary to let go some pretty pens to buy other wonderful pens.

Circa 1904: Laughlin eyedropper pen, mhr

Circa 1905: Autofiller Pen mhr, twist filler

Circa 1908: Conklin's S3 crescent filler, bchr

Circa 1910: Parker #20 click filler Lucky Curve

Circa 1910: Waterman 13 in mottled hard rubber, eyedropper

Circa 1910: Moore Non-Leakable 2.50 safety in bchr, eyedropper,

Circa 1910: Eagle overfeed in mottled hard rubber, eyedropper

Circa 1910: Moore Non-Leakable safety pen, mhr, eyedropper filler,

Circa 1915: Swan Safety bchr

Circa 1915: Waterman 58 in bchr

Circa 1915: A.A Waterman 3 bchr twist filler

Circa 1915: Arthur A. Waterman in bchr, twist filler

Circa 1915: The Vulcanite fountain pen, New York, thumb filler system

Circa 1915: A.A Waterman 3 bchr lever filler

Circa 1920: Wahl Pen Signature oversize, bchr

Circa 1921: Dunn Pen bchr

Circa 1921: Crocker 56B bchr

Circa 1922: Crocker oversize in blchr

Circa 1922: Postal Pen oversize in bhr and bakelite

Circa 1923: Wahl Signature mottled hard rubber

Circa 1923: Parker Duofold Lady rhr

Circa 1923: Parker Duofold senior in black chased hard rubber

Circa 1923: Waterman 56 red Ripple hard rubber

Circa 1924: Crocker Zain #4 in blchr

Circa 1925: Conway Stewart 750 in red and black chased hard rubber

Circa 1925: John Hancock black hard rubber cartridge filler

Circa 1925: Moore Luxor L-95 red dot

Circa 1926: Parker Lucky Curve senior in Apple green

Circa 1926: Waterman 94 in Olive Ripple

Circa 1926: Conklin Endura senior in blue saphire

Circa 1927: Wahl #2 in jade green

Circa 1927: Parker Duofold Mandarin Senior

Circa 1927: Conklin Toledo in sapphire blue celluloid

Circa 1927: Sheaffer Lifetime senior in black and pearl

Circa 1927: Waterman olive Ripple hard rubber

Circa 1927: Moore L96 Red dot Monarch fountain pen, lever filler

Circa 1927: Jiffy-Vacuum fountain pen, plunger filler

Circa 1928: Mabie Todd Swan pen in mhr

Circa 1928: Carter #6 in chocolate brown with white specks

Circa 1928: Carter oversize in coral Coralite

Circa 1928: LeBoeuf #6 in black and bronze celluloid, thumb filler

Circa 1929: Wahl Eversharp in red hard rubber

Circa 1929: Wirt #3 silver pearl flat top, lever filler

Circa 1929: Wahl Gold Seal Black and Pearl

Circa 1929: Leboeuf #4 in grey pearl celluloid, thumb filler, c.1929

Circa 1929: Sheaffer Loaner Service Pen in black radite

Circa 1930: Namiki-Dunhill in "black laconite" (ebonite laquered), original box and papers

Circa 1930: Conway Stewart 492 in mhr

Circa 1930: Wahl Deco Band Gold Seal set in green and bronze

Circa 1930: Sheaffer Lifetime senior in black radite

Circa 1930: Wahl Tunis Gold Seal Equipoised

Circa 1930: Chilton chartreuse and red veined

Circa 1930: Chilton Long Island full size in black and bronze celluloid, pneumatic self-filling system

Circa 1931: Conklin Ensemble black and pearl

Circa 1932: Leboeuf #6 set in black and pearl, sleeve filler

Circa 1932: Vacuum-Fil #3 (made by Sheaffer) twist filler

Circa 1937: Pelikan 100N

Circa 1938: Parker Vacumatic Junior

Circa 1939: Pelikan 100N in black and green celluloid

Circa 1940: Parker Vacumatic Major set in blue azure, mint condition

Circa 1941: Chilton Pneumatic-fill, made in Holland

Circa 1942: Sheaffer Triumph Lifetime 1250, plunger-filler mechanism

Circa 1945: Sheaffer Admiral

Circa 1949: Eversharp Deluxe Symphony

Circa 1950: MontBlanc 134 Meisterstuck fountain pen piston filler

1993: Omas Arco Paragon

Circa 2000: Danitrio

John Hancock Copper Cartridge-filler, c.1925

2007-04-01T10:42:00.002-07:00

Carter 5117 oversize fountain pen in Blue with Light Blue Swirls, c.1928

2007-04-01T10:34:00.000-07:00

Chilton Long Island full size in black and bronze celluloid, pneumatic self-filling system, c. 1930

2007-04-01T10:30:00.000-07:00

Parker 51 vacumatic double jewel, in black lucite with Heritage or "window pane" gold filled cap and 14k blue diamond clip and tassie

2007-03-31T14:24:00.000-07:00

Wirt #3 silver pearl flat top, lever filler, c.1929

2007-03-31T14:21:00.000-07:00

Circa 1928: LeBoeuf #8 Grey lever filler pen

2007-03-31T14:16:00.000-07:00

A.A. Waterman #7 in mottled hard rubber, eyedropper fountain pen, c.1910

2007-03-31T14:12:00.000-07:00

Crocker fountain pen in mottled hard rubber, hatchet-filler system, c.1918

2007-03-31T13:44:00.000-07:00

Inks for fountain pen

2007-03-30T16:44:00.000-07:00

In collaboration with www.penandco.com

- Herbin's inks are Ph Neutral. Each bottle contains 30 ml of ink and has an integrated pen rest. The cartridges are international cartridges which fit with most of the fountain pens (mainly except Sheaffer and Parker pens).

The price for one ink bottle is 6.20€

The price for the ink cartridges is 2.30€

To order please download Herbin real color chart and contact us on: csanchezalamo@yahoo.fr or contact@penandco.com
if you want to make an order or if you have any question about Herbin's ink.

Thank you SanchezAlamo Pens & Penandco

Leboeuf #8 in grey and cream swirl celluloid, thumb filler, c.1929

2007-03-30T16:42:00.000-07:00

LEBOEUF SET

2007-03-30T16:38:00.000-07:00

Moore Fingertip, mint condition with the original sticker, autumn pearl pen, c.1946

2007-03-30T08:47:00.000-07:00

Moore Fingertip fountain pen, comprada a principios de octubre 2006 a Pete Kirby siempre he pensado que esta pluma no tuvo el éxito que se merecía. Con la Fingertip, Moore hizo grandes esfuerzos por estar a la altura del éxito de la Parker 51, diseñada cinco anos atrás, y de la no menos conocida pluma cilíndrica Triumph de Sheaffer. Sin embargo, la Fingertip estuvo lejos de conseguir tal éxito y esto hace que hoy sea una pluma difícil de encontrar en buen estado. Algunos coleccionistas achacan su fracaso al hecho que una vez cerrada, la pluma perdía todo su encanto y se asemejaba a cualquier otra pluma. Es cierto que la belleza de este modelo está en el plumìn, un plumìn integrado diseñado por Moore trece anos antes que la pluma PFM (Pen for Men) fabricada en 1959 por Sheaffer, y es cierto también que el clip aunque frágil, está bien diseñado y se integra perfectamente en la linea fluida del capuchón. Otro factor en favor de esta pluma tan especial son los colores utilizados por Moore. A diferencia de Parker, Moore utilizó para su pluma Fingertip colores tan atractivos como el de mi pluma.
Para más información ver:
http://www.penhero.com/PenGallery/Moore/MooreFingertipGallery.htm
http://www.penhero.com/PenGallery/Moore/MooreFingertip.htm
http://www.richardspens.com/