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February 28: Moore Fingertip Seaspray Pearl fountain pen c1946-1950

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February 27: Platinum Urushi Maki-e Sakura (Cherry Blossom) fountain pen, current production

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February 26: Parker 51 Aerometric Demonstrator c1950

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February 25: A set of Cleo Skribent fountain pens 2005

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February 24: Sheaffer Legacy 2 Black Pearl Special Edition 2001

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February 23: Cross Verve Radial Chrome Fountain Pen 2004-2008

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February 22: Wahl Eversharp Gold-On-Silver Ladies Ringtop Pen, Niagara Pattern c1928

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February 21: Platinum Izumo #27 Sora-tame (Green) Tame-nuri

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February 20: Parker Duofold Mandarin Yellow 1995 Limited Edition

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February 19: Sheaffer Valiant Carmine and Sheaffer Autograph, 1946

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February 18: Classic Pens LB5 Tensui with Sailor Nagahara Cross Point nib, 2012

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February 17: Parker Duofold Mandarin Yellow c1928-1929

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February 16: Parker 51 Flighter with matching Liquid Lead Pencil c1955

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February 15: Moore Fingertip Eiderdown White c1946-1950

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February 14: Classic Pens LB2 Kimono Prototype 2006

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February 13: Classic Pens ZJ2 Hobnail Rose Gold Plated Prototype 2009

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February 12: Classic Pens / Paul Rossi Sterling Silver Overlay Harvest Pen 2009

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February 11: Mabie Todd Swan Visofil 'V' Series V112 / 49 Imitation Mother-O'-Pearl

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February 10: Classic Pens LB5 Amethyst Mauve prototype

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February 9: Classic Pens LS7 Mitsubachi (Honey Bee) prototype

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February 8: Classic Pens LP1 Grapevine 2009 prototype

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February 7: Classic Pens LR7 Moonlight 2013 prototype

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February 6: Classic Pens ZJ1 Mozaique limited edition 2007

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February 5: Three Classic Pens LB5 prototypes

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February 4: Pelikan M1000 nib detail

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February 3: Tsuishu Japanese eyedropper with pine tree design c1932-1935

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February 2: Three Classic Pens LB5 prototypes

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February 1: Yotsubishi eye dropper filler with a silver mixed with urushi pattern c1955

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There are two types of Classic Pens LB5 prototype cap bands. The original run of the LB5 was the Flame Red and Space Blue colors and the first prototypes have the original wide Sailor King of Pen (yes that is the spelling) cap band with no numbering. There were a couple of runs of those prototypes done to resolve an issue found where Sailor's black inner cap would show through the translucent diffusion bonded resin and needed to be corrected by using a clear inner cap. Prototypes were made to see how long the barrel should be and a longer barrel was decided. Several colors were tried, and some prototype pens made, until the complete set of six colors was decided. When the four final colors were made, the cap band for the LB5 was set, so the prototypes of those colors were all done as Amethyst Mauve 00/50, as shown here.

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There are two types of Classic Pens LB5 prototype cap bands. The original run of the LB5 was the Flame Red and Space Blue colors and the first prototypes have the original wide Sailor King of Pen (yes that is the spelling) cap band with no numbering. There were a couple of runs of those prototypes done to resolve an issue found where Sailor's black inner cap would show through the translucent diffusion bonded resin and needed to be corrected by using a clear inner cap. Prototypes were made to see how long the barrel should be and a longer barrel was decided. Several colors were tried, and some prototype pens made, until the complete set of six colors was decided. When the four final colors were made, the cap band for the LB5 was set, so the prototypes of those colors were all done as Amethyst Mauve 00/50, as shown here.

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This is a prototype of the Classic Pens LS7 Mitsubachi (Honey Bee) on the Sailor 1911. The LS7 Mitsubachi was released in 2003 as 15 pieces on the Parker Duofold and the Classic Legend. There is a honey bee on the cap, two on the barrel and the Queen honeybee on the gripping section near the nib. This pen is a good example of high relief Taka Maki-E combined with Togidashi by artist Shogetsu Mitani. Two views of the pen are shown, open and closed. You can see the 00 number indicating a prototype, on the barrel with the signature. You can read more about the final edition of these pens here: http://classicpensinc.com/LS/LS7.htm

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This is a prototype of the Classic Pens LS7 Mitsubachi (Honey Bee) on the Sailor 1911. The LS7 Mitsubachi was released in 2003 as 15 pieces on the Parker Duofold and the Classic Legend. There is a honey bee on the cap, two on the barrel and the Queen honeybee on the gripping section near the nib. This pen is a good example of high relief Taka Maki-E combined with Togidashi by artist Shogetsu Mitani. Two views of the pen are shown, open and closed. You can see the 00 number indicating a prototype, on the barrel with the signature. You can read more about the final edition of these pens here: http://classicpensinc.com/LS/LS7.htm

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Prototype of the Classic Pens LP1 Grapevine Limited Edition 2009. Andy Lambrou met Juan Carlos Pallarols, master silversmith from Buenos Aires, Argentina, at one of the Washington, DC pen shows and fell in love with his work. This pen is the result of their first collaboration. Each Grapevine design is worked by hand over 40 hours so that each LP1 art pen is unique and a little different from the rest. The pen is very large and heavy, at 5 3/4 inches long capped. The edition was 25 pens at $9,000 each. This prototype was worked from a plain silver CP8. You can read more about this pen here: http://www.penhero.com/PenGallery/ClassicPens/ClassicPensLP1.htm

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Prototype of the Classic Pens LP1 Grapevine Limited Edition 2009. Andy Lambrou met Juan Carlos Pallarols, master silversmith from Buenos Aires, Argentina, at one of the Washington, DC pen shows and fell in love with his work. This pen is the result of their first collaboration. Each Grapevine design is worked by hand over 40 hours so that each LP1 art pen is unique and a little different from the rest. The pen is very large and heavy, at 5 3/4 inches long capped. The edition was 25 pens at $9,000 each. This prototype was worked from a plain silver CP8. You can read more about this pen here: http://www.penhero.com/PenGallery/ClassicPens/ClassicPensLP1.htm

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Early artist's proof prototype of Paul Rossi's Classic Pens LR7 Moonlight, showing off his outstanding metalwork in the barrel of the pen. The real story here is to notice the differences between the artist's proof prototype and the final pen. This pen has the standard Classic Pens cravat clip. The section, cap top and barrel end are all black resin instead of Space Blue. Had this been the final pen, it would be handsome indeed, but the final art pen adds a handcrafted sterling silver clip, turned Space Blue resin cap top, barrel end and section elements to complete the overall beauty of the scene. The Classic Pens LR7 Moonlight depicts a very serene full moon lit evening with the moon framed by the trees. The moon and stars are hand inlaid in the cap and barrel. The pen was hand turned and the silverwork was hand made by Paul Rossi. The nib is oversize 18 karat made by Peter Bock. The edition was released in 2013.

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Early artist's proof prototype of Paul Rossi's Classic Pens LR7 Moonlight, showing off his outstanding metalwork in the barrel of the pen. The real story here is to notice the differences between the artist's proof prototype and the final pen. This pen has the standard Classic Pens cravat clip. The section, cap top and barrel end are all black resin instead of Space Blue. Had this been the final pen, it would be handsome indeed, but the final art pen adds a handcrafted sterling silver clip, turned Space Blue resin cap top, barrel end and section elements to complete the overall beauty of the scene. The Classic Pens LR7 Moonlight depicts a very serene full moon lit evening with the moon framed by the trees. The moon and stars are hand inlaid in the cap and barrel. The pen was hand turned and the silverwork was hand made by Paul Rossi. The nib is oversize 18 karat made by Peter Bock. The edition was released in 2013.

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This is a Mabie Todd Swan Visofil 'V' Series V112 / 49 Ladies pen in Imitation Mother-O'-Pearl - Mabie Todd color code 49, though it's not a great example. This example is very discolored and we've only seen one in the correct color, a more cream color, owned by a collector in the UK. Mabie Todd introduced the Visofil pen in 1935 to compete in the "ink visible" trend going on at the time. The Visofil V Series is a uniquely designed ink sac pen with a clear plunger providing a view to the ink level. The sac actually is cut at both ends, with one attaching to the section and the other attaching to the spring loaded plunger. Repeatedly pressing the plunger draws ink into the sac and eventually the ink level can be seen through the clear plunger. This example is the larger size among three clipless versions of the Visofl V series pens. You can read more about this pen here: http://www.penhero.com/PenGallery/MabieTodd/MabieToddVisofilV.htm

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This is a Mabie Todd Swan Visofil 'V' Series V112 / 49 Ladies pen in Imitation Mother-O'-Pearl - Mabie Todd color code 49, though it's not a great example. This example is very discolored and we've only seen one in the correct color, a more cream color, owned by a collector in the UK. Mabie Todd introduced the Visofil pen in 1935 to compete in the "ink visible" trend going on at the time. The Visofil V Series is a uniquely designed ink sac pen with a clear plunger providing a view to the ink level. The sac actually is cut at both ends, with one attaching to the section and the other attaching to the spring loaded plunger. Repeatedly pressing the plunger draws ink into the sac and eventually the ink level can be seen through the clear plunger. This example is the larger size among three clipless versions of the Visofl V series pens. You can read more about this pen here: http://www.penhero.com/PenGallery/MabieTodd/MabieToddVisofilV.htm

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Back in 2009, Andy Lambrou commissioned Paul Rossi to create this sterling silver overlay pen he named Harvest, to reflect harvest time on a Mediterranean island. The design is a composition of Morning Glory flowers and Wheat, with Olive branches on the bands. Centered in the design is the silhouette of the island of Cyprus. Paul used sterling silver tubes 1.5 mm thick to craft the design. The tube thickness gave Paul the opportunity to carve the high relief design and create textures and details that enhance the individal components of the work. Even the clip is hand crafted in sterling silver. The base pen was completely hand crafted using the Classic Pens Mythos as the model, a slim profile on a large pen, 6 inches long when closed. The resulting Flame Red base pen with the sterling silver overlay and clip favors the jeweler's work done on highly sought after Waterman, Parker and other classic overlay pens from the 1910s and the 1920s. You can see Paul Rossi's hallmark on the cap band and top barrel band. The pen represents 100 hours of Paul's time and the list price was $8,250 when sold in 2009. The pen was offered with a choice of five nib grades: Fine, Medium, Broad, Fine Italic, Broad Italic Peter Bock nibs.

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Back in 2009, Andy Lambrou commissioned Paul Rossi to create this sterling silver overlay pen he named Harvest, to reflect harvest time on a Mediterranean island. The design is a composition of Morning Glory flowers and Wheat, with Olive branches on the bands. Centered in the design is the silhouette of the island of Cyprus. Paul used sterling silver tubes 1.5 mm thick to craft the design. The tube thickness gave Paul the opportunity to carve the high relief design and create textures and details that enhance the individal components of the work. Even the clip is hand crafted in sterling silver. The base pen was completely hand crafted using the Classic Pens Mythos as the model, a slim profile on a large pen, 6 inches long when closed. The resulting Flame Red base pen with the sterling silver overlay and clip favors the jeweler's work done on highly sought after Waterman, Parker and other classic overlay pens from the 1910s and the 1920s. You can see Paul Rossi's hallmark on the cap band and top barrel band. The pen represents 100 hours of Paul's time and the list price was $8,250 when sold in 2009. The pen was offered with a choice of five nib grades: Fine, Medium, Broad, Fine Italic, Broad Italic Peter Bock nibs.

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Andy Lambrou was trying different designs as a follow up to the Classic Pens ZJ1 Mozaique in 2007 and decided to use the straight shape Mythos pen as the basis for a new oversize pen, the Classic Pens ZJ2. Two engraving styles were tried on the pen, this high relief Hobnail design and a Vannerie design. As with the ZJ1, the pens were hand engraved by Murelli in France using a 1927 vintage hand engraver on solid silver rods specially manufactured in Germany or brass for the gold plated prototypes. The Mythos design is straighter than the cigar shaped ZJ1 and allows the engraving to run the entire length of the pen to the edges, as the ends are flat, where the more requires that the engraving stop before the rounded ends of the cap and barrel. The more cylindrical shape shows off the engraving quite well. This image is of the Hobnail prototype, made of brass with rose gold plating with matching rose gold plated nib. Prototypes were also made in sterling silver and yellow gold plate on brass.

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Andy Lambrou was trying different designs as a follow up to the Classic Pens ZJ1 Mozaique in 2007 and decided to use the straight shape Mythos pen as the basis for a new oversize pen, the Classic Pens ZJ2. Two engraving styles were tried on the pen, this high relief Hobnail design and a Vannerie design. As with the ZJ1, the pens were hand engraved by Murelli in France using a 1927 vintage hand engraver on solid silver rods specially manufactured in Germany or brass for the gold plated prototypes. The Mythos design is straighter than the cigar shaped ZJ1 and allows the engraving to run the entire length of the pen to the edges, as the ends are flat, where the more requires that the engraving stop before the rounded ends of the cap and barrel. The more cylindrical shape shows off the engraving quite well. This image is of the Hobnail prototype, made of brass with rose gold plating with matching rose gold plated nib. Prototypes were also made in sterling silver and yellow gold plate on brass.

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A prototype LB2 Kimono pen, done in Togidashi Maki-E technique, which has a combination of two painted designs that run the length of the cap, barrel and section in a continuous flow. The base colors are applied in wide bands that softly transition from one color to the next down the length of the pen. A fine gold dust is then sprinkled over the cap and barrel, which gives the finish its sheen. Finally, the artist paints the raised concentric rings of alternating silver and gold. Note the Red Seal Signature of the artist, Tatsuya Todo, at the base of the barrel. The final color choices for the LB2 was a green theme named Shinrin (Forest) and an orange-brown theme named Sakyu (Desert). Originally selling for $2,950 each, over time LB2 Kimono pens are increasing in value. What sets the LB2 Kimono apart from other Maki-E pens is the utter simplicity of the design and the way it flows from the cap top to the end of the barrel, including the section.

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A prototype LB2 Kimono pen, done in Togidashi Maki-E technique, which has a combination of two painted designs that run the length of the cap, barrel and section in a continuous flow. The base colors are applied in wide bands that softly transition from one color to the next down the length of the pen. A fine gold dust is then sprinkled over the cap and barrel, which gives the finish its sheen. Finally, the artist paints the raised concentric rings of alternating silver and gold. Note the Red Seal Signature of the artist, Tatsuya Todo, at the base of the barrel. The final color choices for the LB2 was a green theme named Shinrin (Forest) and an orange-brown theme named Sakyu (Desert). Originally selling for $2,950 each, over time LB2 Kimono pens are increasing in value. What sets the LB2 Kimono apart from other Maki-E pens is the utter simplicity of the design and the way it flows from the cap top to the end of the barrel, including the section.

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The Moore Fingertip was a unique effort to compete with the game changing design of the Parker 51, introduced in 1941, and one of the latest entries. This pen introduced possibly the earliest attempt at an inlaid nib design, with a cone shaped stainless steel section inset with a small, elongated flush fitted nib. As with the Parker 51, the feed is hidden inside the section. Moore Fingertips came in eight colors in either solid colors or striped celluloid. The shorter Demi model has solid color plastic barrels and either polished chrome plated or thin gold plated caps. Eiderdown White Moore Fingertip pens are a particularly difficult color to find, and it is subject to yellowing discoloration. Moore Fingertip pens also suffer from gold plating loss and discoloration.

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The Moore Fingertip was a unique effort to compete with the game changing design of the Parker 51, introduced in 1941, and one of the latest entries. This pen introduced possibly the earliest attempt at an inlaid nib design, with a cone shaped stainless steel section inset with a small, elongated flush fitted nib. As with the Parker 51, the feed is hidden inside the section. Moore Fingertips came in eight colors in either solid colors or striped celluloid. The shorter Demi model has solid color plastic barrels and either polished chrome plated or thin gold plated caps. Eiderdown White Moore Fingertip pens are a particularly difficult color to find, and it is subject to yellowing discoloration. Moore Fingertip pens also suffer from gold plating loss and discoloration.

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Classic Pens ZJ1 Mozaique limited edition 2007 vermeil rose gold prototype. This pen represents the 18 karat solid rose gold pen, fitted with a rose gold finish nib. There were also sterling silver, vermeil, and solid gold pens in the edition of 50 total. The engraving was done by hand on a 1927 engraving machine by the Murelli company, making each pen a little different from the others. An unusual feature is the engraving continues to the cap top and the section. You can read more about these pens here: http://classicpensinc.com/ZJ/ZJ1.htm

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Classic Pens ZJ1 Mozaique limited edition 2007 vermeil rose gold prototype. This pen represents the 18 karat solid rose gold pen, fitted with a rose gold finish nib. There were also sterling silver, vermeil, and solid gold pens in the edition of 50 total. The engraving was done by hand on a 1927 engraving machine by the Murelli company, making each pen a little different from the others. An unusual feature is the engraving continues to the cap top and the section. You can read more about these pens here: http://classicpensinc.com/ZJ/ZJ1.htm

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Another set of three Classic Pens LB5 prototype Sailor King of Pens fountain pens in three Madreperlato colors, an acrylic made by the Italian company Sintetica. The semitransparent cast acrylic sheets in lustrous pearlized colors were diffusion bonded by Carville, using Classic Pens’ exclusive method.

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Another set of three Classic Pens LB5 prototype Sailor King of Pens fountain pens in three Madreperlato colors, an acrylic made by the Italian company Sintetica. The semitransparent cast acrylic sheets in lustrous pearlized colors were diffusion bonded by Carville, using Classic Pens’ exclusive method.

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A Pelikan M1000 nib shot with deliberate reflections, which give life and interest to the photo. One of the best looking nibs on any pen. There are two deliberate reflections in the shot: the cap top reflected on the nib and the nib reflected on the clip top. The shot also shows the transparency of the celluloid barrel - you can see the ink inside through the clear stripes. Finally, a ribbed lampshade was used as the diffuser for the photo lamps, which puts a ripple reflection across all the surfaces.

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A Pelikan M1000 nib shot with deliberate reflections, which give life and interest to the photo. One of the best looking nibs on any pen. There are two deliberate reflections in the shot: the cap top reflected on the nib and the nib reflected on the clip top. The shot also shows the transparency of the celluloid barrel - you can see the ink inside through the clear stripes. Finally, a ribbed lampshade was used as the diffuser for the photo lamps, which puts a ripple reflection across all the surfaces.

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Tsuishu Japanese eyedropper with shut off plunger fountain pen with pine tree design on the cap and barrel done using the kamakura bori technique. Urushi is applied in layers over an ebonite cap and barrel and the design is then cut into the finished pen. Made c1932-1935. Unused photo from “Collecting Japanese Pens,” by Stan Klemanowicz, Pennant, Winter 2006.

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Tsuishu Japanese eyedropper with shut off plunger fountain pen with pine tree design on the cap and barrel done using the kamakura bori technique. Urushi is applied in layers over an ebonite cap and barrel and the design is then cut into the finished pen. Made c1932-1935. Unused photo from “Collecting Japanese Pens,” by Stan Klemanowicz, Pennant, Winter 2006.

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A set of three Classic Pens LB5 prototype Sailor King of Pens fountain pens in three Madreperlato colors, an acrylic made by the Italian company Sintetica. The semitransparent cast acrylic sheets in lustrous pearlized colors were diffusion bonded by Carville, using Classic Pens’ exclusive method.

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A set of three Classic Pens LB5 prototype Sailor King of Pens fountain pens in three Madreperlato colors, an acrylic made by the Italian company Sintetica. The semitransparent cast acrylic sheets in lustrous pearlized colors were diffusion bonded by Carville, using Classic Pens’ exclusive method.

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Yotsubishi fountain pen decorated with brushed silver dust mixed with urushi and applied in a beautiful pattern on the cap and barrel. Note the four diamond symbol on the clip top. Japanese eyedropper filler with shut off plunger, c1955. Photographed for “Collecting Japanese Pens,” by Stan Klemanowicz, for the Winter, 2006 Pennant magazine, but not used.

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Yotsubishi fountain pen decorated with brushed silver dust mixed with urushi and applied in a beautiful pattern on the cap and barrel. Note the four diamond symbol on the clip top. Japanese eyedropper filler with shut off plunger, c1955. Photographed for “Collecting Japanese Pens,” by Stan Klemanowicz, for the Winter, 2006 Pennant magazine, but not used.

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This Parker 51 Flighter came as a set with a working matching Liquid Lead Pencil, which dates the set to c1955. The pencil was essentially a non-retractible ball point pen that wrote with a type of liquid graphite paste, allowing writing that could be erased. This was a true oddball innovation that did not take off in the market and was dropped by Parker only a few years later. The 51 Flighter fountain pen was introduced in 1950 and is highly sought after. Subsequent all steel Parkers are invariably referred to as Flighters to this day.

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This Parker 51 Flighter came as a set with a working matching Liquid Lead Pencil, which dates the set to c1955. The pencil was essentially a non-retractible ball point pen that wrote with a type of liquid graphite paste, allowing writing that could be erased. This was a true oddball innovation that did not take off in the market and was dropped by Parker only a few years later. The 51 Flighter fountain pen was introduced in 1950 and is highly sought after. Subsequent all steel Parkers are invariably referred to as Flighters to this day.

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Parker Duofold Mandarin Yellow c1928-1929: Mandarin Yellow, introduced in 1927, was the fifth color introduced on the Duofold after Chinese Lacquer Red, Black, Jade Green, and Lapis Lazuli. George Parker got the inspiration for the Mandarin Yellow color from a Cloisonné vase he purchased in Japan. The color, first called Imperial Yellow, was introduced in April, 1927, on a single wide cap band Duofold made of Permanite plastic, selling for $7.00 retail. The 1927 Parker Catalog calls the new color "Chinese Yellow." In 1928 Parker changed the cap design to two narrow cap bands. The 1929 Parker Catalog calls the color "Imperial Mandarin Yellow," though Parker advertisements use the shorter Mandarin Yellow name. These pens are prized by collectors and command high prices. The plastic is prone to cracking, especially at the cap lip. As with all early Duofolds, the pencils are not as prone to discoloration and are good measures of the original color. You can read more about this pen here: http://www.penhero.com/365_2010/365_020910.htm

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Parker Duofold Mandarin Yellow c1928-1929: Mandarin Yellow, introduced in 1927, was the fifth color introduced on the Duofold after Chinese Lacquer Red, Black, Jade Green, and Lapis Lazuli. George Parker got the inspiration for the Mandarin Yellow color from a Cloisonné vase he purchased in Japan. The color, first called Imperial Yellow, was introduced in April, 1927, on a single wide cap band Duofold made of Permanite plastic, selling for $7.00 retail. The 1927 Parker Catalog calls the new color "Chinese Yellow." In 1928 Parker changed the cap design to two narrow cap bands. The 1929 Parker Catalog calls the color "Imperial Mandarin Yellow," though Parker advertisements use the shorter Mandarin Yellow name. These pens are prized by collectors and command high prices. The plastic is prone to cracking, especially at the cap lip. As with all early Duofolds, the pencils are not as prone to discoloration and are good measures of the original color. You can read more about this pen here: http://www.penhero.com/365_2010/365_020910.htm

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Each of the Classic Pens LB5 colors, Tensui (raindrops) in Space Blue, Tairiku (continent) in Marble White, Midorigi (new green trees) in Forest Green, Kaen (violent flames) in Flame Red, Kouseki (metal ore) in Diamond Brown, and and Tairiku (continent) in Amethyst Mauve was available with the Sailor Nagahara Cross Point nib, made by Master Nib Designer Nobuyoshi Nagahara. The Cross Point nib is created using two nibs crafted together into a double layer with two slits, one vertical and one and horizontal. This allows for both broad and fine strokes and a heavy ink flow. What's special about the LB5 Tensui Cross Point is that it has gold plated trim, and only a small number of these pens were made out of a total of 50 in that color. These pens are all sold out, so if you have one, you have a special pen, indeed. You can read more about this pen here: http://classicpensinc.com/LB/LB5.htm

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Each of the Classic Pens LB5 colors, Tensui (raindrops) in Space Blue, Tairiku (continent) in Marble White, Midorigi (new green trees) in Forest Green, Kaen (violent flames) in Flame Red, Kouseki (metal ore) in Diamond Brown, and and Tairiku (continent) in Amethyst Mauve was available with the Sailor Nagahara Cross Point nib, made by Master Nib Designer Nobuyoshi Nagahara. The Cross Point nib is created using two nibs crafted together into a double layer with two slits, one vertical and one and horizontal. This allows for both broad and fine strokes and a heavy ink flow. What's special about the LB5 Tensui Cross Point is that it has gold plated trim, and only a small number of these pens were made out of a total of 50 in that color. These pens are all sold out, so if you have one, you have a special pen, indeed. You can read more about this pen here: http://classicpensinc.com/LB/LB5.htm

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This photo, published in black and white in the Spring 2006 Pennant, is of a Sheaffer Valiant carmine and a Sheaffer Autograph, both Vacuum-fil pens. The story, on 1946 Sheaffer models, included 1946 catalog sheets detailing Sheaffer's offerings. The Valiant was the top all plastic White Dot model selling for $12.50 with a $5.00 matching pencil. Valiants came in five striped Radite colors. Gold fill trim models were black, brown, green, and carmine. There was a gray model with chrome trim. There was also a black Valiant lever-fill pen. The Triumph For Your Autograph pen came in Black Radite cap and barrel with a solid 14-karat gold clip and 9/16 inch cap band and was offered as either lever or vacuum-fil for $20.00 and with a $15.00 matching pencil.

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This photo, published in black and white in the Spring 2006 Pennant, is of a Sheaffer Valiant carmine and a Sheaffer Autograph, both Vacuum-fil pens. The story, on 1946 Sheaffer models, included 1946 catalog sheets detailing Sheaffer's offerings. The Valiant was the top all plastic White Dot model selling for $12.50 with a $5.00 matching pencil. Valiants came in five striped Radite colors. Gold fill trim models were black, brown, green, and carmine. There was a gray model with chrome trim. There was also a black Valiant lever-fill pen. The Triumph For Your Autograph pen came in Black Radite cap and barrel with a solid 14-karat gold clip and 9/16 inch cap band and was offered as either lever or vacuum-fil for $20.00 and with a $15.00 matching pencil.

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Parker reintroduced the Duofold Mandarin Yellow as a 1995 Limited Edition. The pen was not a replica of a particular Duofold, but calls out many of the best features of several models. The overall shape resembles the later streamline Duofolds introduced in 1929. The original use of three gold filled cap bands can be found on the 1927 Duofold Mandarin Lady and Juniorette, though they are 18 karat on this pen. The 18 karat Arrow nib (a special design offered only in medium) draws its design from the nib introduced in 1933 on the Parker Vacumatic but is found on some vintage Duofolds as replacements or late production pens from the 1930s. The barrel is stamped with a similar imprint to the earliest Big Red Duofolds with the Duofold name in very large capitals. The edition number of 10,000 pieces appears in the imprint banner, which would otherwise have said Lucky Curve on a vintage Duofold. The edition number also appears on the cap top.

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Parker reintroduced the Duofold Mandarin Yellow as a 1995 Limited Edition. The pen was not a replica of a particular Duofold, but calls out many of the best features of several models. The overall shape resembles the later streamline Duofolds introduced in 1929. The original use of three gold filled cap bands can be found on the 1927 Duofold Mandarin Lady and Juniorette, though they are 18 karat on this pen. The 18 karat Arrow nib (a special design offered only in medium) draws its design from the nib introduced in 1933 on the Parker Vacumatic but is found on some vintage Duofolds as replacements or late production pens from the 1930s. The barrel is stamped with a similar imprint to the earliest Big Red Duofolds with the Duofold name in very large capitals. The edition number of 10,000 pieces appears in the imprint banner, which would otherwise have said Lucky Curve on a vintage Duofold. The edition number also appears on the cap top.

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Platinum Izumo pens are named for Izumo-no-kuni, an old provence of Japan known for production of high quality washi paper. The Izumo #27 Sora-tame in this photo is an ebonite base pen with a multi-layered Urushi lacquer finish using the Tame-nuri method. The Tame-nuri method uses a transparent (actually a clear brown or amber color) Urushi painted over a colored Urushi, in this case, green (Sora), thus the Sora-tame name. You can see the color edges of the undercoat at the joints of the pen elements. Urushi changes color over time, lightening and becoming more shiny. The Urushi coated Izumo pens are very large, nearly equal in size to the Classic Pens LB5 (Sailor King of Pen), but also, because they are made of hard rubber, very light in weight. Izumo pens are fitted with the excellent Platinum President 18 karat gold nibs in fine, medium or broad. There are three Izumo Tame-nuri colors, Aka-tame (Red), Sora-tame (Green), and Biwa-tame (Tan). These pens are current production models and retail for $795.

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Platinum Izumo pens are named for Izumo-no-kuni, an old provence of Japan known for production of high quality washi paper. The Izumo #27 Sora-tame in this photo is an ebonite base pen with a multi-layered Urushi lacquer finish using the Tame-nuri method. The Tame-nuri method uses a transparent (actually a clear brown or amber color) Urushi painted over a colored Urushi, in this case, green (Sora), thus the Sora-tame name. You can see the color edges of the undercoat at the joints of the pen elements. Urushi changes color over time, lightening and becoming more shiny. The Urushi coated Izumo pens are very large, nearly equal in size to the Classic Pens LB5 (Sailor King of Pen), but also, because they are made of hard rubber, very light in weight. Izumo pens are fitted with the excellent Platinum President 18 karat gold nibs in fine, medium or broad. There are three Izumo Tame-nuri colors, Aka-tame (Red), Sora-tame (Green), and Biwa-tame (Tan). These pens are current production models and retail for $795.

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Wahl Eversharp was well known for its very broad assortment of machine turned pens and pencils, especially in the 1920s, with big color catalogs full of choices in solid gold, gold filled and sterling silver. Some of the more interesting pens were vermeil finishes, or in their terms, Gold-On-Silver, a base sterling silver pen with 12 karat gold fill. Part of the gold fill is then cut away and a design is engine turned in the "windows" cut into the pen. Some models had the windows filled with translucent enamel. This particular ringtop pen does not appear in any catalog we have, but the pattern is known as niagara and is very uncommon. Some collectors amusingly refer to the pattern as brain or coral. This Gold-On-Silver pattern was likely on a matching large size pen. It also appears on sterling silver (no gold overlay) pens and matching pencils. We are dating it as c1928 based on the appearance of Gold-On-Silver pens in the 1928 catalog.

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Wahl Eversharp was well known for its very broad assortment of machine turned pens and pencils, especially in the 1920s, with big color catalogs full of choices in solid gold, gold filled and sterling silver. Some of the more interesting pens were vermeil finishes, or in their terms, Gold-On-Silver, a base sterling silver pen with 12 karat gold fill. Part of the gold fill is then cut away and a design is engine turned in the "windows" cut into the pen. Some models had the windows filled with translucent enamel. This particular ringtop pen does not appear in any catalog we have, but the pattern is known as niagara and is very uncommon. Some collectors amusingly refer to the pattern as brain or coral. This Gold-On-Silver pattern was likely on a matching large size pen. It also appears on sterling silver (no gold overlay) pens and matching pencils. We are dating it as c1928 based on the appearance of Gold-On-Silver pens in the 1928 catalog.

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The Cross Verve was introduced in 2004 at invitation-only event at Le Jazz Au Bar in New York as part of a marketing arrangement between Cross and Verve Records. Quickly after introduction, Verve was voted Best Pen, Contemporary Design in Pen World International's Tenth Annual Readers' Choice Award. The pen was introduced in four finishes, Platinum Plated, Merlot, Selenium Blue and Radial Chrome, each finish had four nib choices, broad, medium, fine or extra fine. The Radial Chrome pen shown here came in a highly polished chrome plated finish with progressive radial cuts in the cap and barrel. The pen had a rhodium plated stainless steel nib and a unique press to open clip. The Verve, a big departure from the traditional designs usually put out by Cross, was initially a hot seller, but was discontinued by 2008. This model retailed for $175. Verve nibs are excellent writers. Cross called it the 360 degree wrapped inlaid nib.

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The Cross Verve was introduced in 2004 at invitation-only event at Le Jazz Au Bar in New York as part of a marketing arrangement between Cross and Verve Records. Quickly after introduction, Verve was voted Best Pen, Contemporary Design in Pen World International's Tenth Annual Readers' Choice Award. The pen was introduced in four finishes, Platinum Plated, Merlot, Selenium Blue and Radial Chrome, each finish had four nib choices, broad, medium, fine or extra fine. The Radial Chrome pen shown here came in a highly polished chrome plated finish with progressive radial cuts in the cap and barrel. The pen had a rhodium plated stainless steel nib and a unique press to open clip. The Verve, a big departure from the traditional designs usually put out by Cross, was initially a hot seller, but was discontinued by 2008. This model retailed for $175. Verve nibs are excellent writers. Cross called it the 360 degree wrapped inlaid nib.

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The Sheaffer Legacy 2 Black Pearl Special Edition, model 854, was released in 2001, offered as a Touchdown fountain pen for $275 or a rollerball pen for $160. The modern art style design was done in collaboration with Modus Product Design in Stuttgart, Germany and was inspired by the black pearls found in the South Pacific. Each pen was individually finished with a deep blue base color decorated with an array of black pearl elements. The trim and 18 karat gold nib are electroplated with palladium. They were presented in an unusual chrome color latched box. The edition did not sell out and was offered to dealers as overstocks in 2004. Mint pens now occasionally appear for sale for as much as twice the original list price.

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The Sheaffer Legacy 2 Black Pearl Special Edition, model 854, was released in 2001, offered as a Touchdown fountain pen for $275 or a rollerball pen for $160. The modern art style design was done in collaboration with Modus Product Design in Stuttgart, Germany and was inspired by the black pearls found in the South Pacific. Each pen was individually finished with a deep blue base color decorated with an array of black pearl elements. The trim and 18 karat gold nib are electroplated with palladium. They were presented in an unusual chrome color latched box. The edition did not sell out and was offered to dealers as overstocks in 2004. Mint pens now occasionally appear for sale for as much as twice the original list price.

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Back in 2005 we were sent a complete set of Cleo Skribent pens to photograph and write an article on. The company engaged Gabriele Schönfelder to design the line of new pens. The pens shown here are the black resin with gold plated section and trim Primus, the black resin with platinum plated trim Platinum, and the red resin with gold plated trim Tertius. Each fountain pen had matching rollerball, ballpoint and pencil versions. The fountain pen sold for $300. The unique clip is something of an art piece unto itself, resembling a cantilevered bridge, or perhaps the neck of a violin. These pens are still in production. An interesting side note is that Cleo Skribent jobs a lot of nib plating and design work for many well known manufacturers. The nibs on these pens show off their high quality work. You can read more about these pens and the company in the article here: http://www.penhero.com/PenGallery/Cleo/CleoSkribentPen.htm

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Back in 2005 we were sent a complete set of Cleo Skribent pens to photograph and write an article on. The company engaged Gabriele Schönfelder to design the line of new pens. The pens shown here are the black resin with gold plated section and trim Primus, the black resin with platinum plated trim Platinum, and the red resin with gold plated trim Tertius. Each fountain pen had matching rollerball, ballpoint and pencil versions. The fountain pen sold for $300. The unique clip is something of an art piece unto itself, resembling a cantilevered bridge, or perhaps the neck of a violin. These pens are still in production. An interesting side note is that Cleo Skribent jobs a lot of nib plating and design work for many well known manufacturers. The nibs on these pens show off their high quality work. You can read more about these pens and the company in the article here: http://www.penhero.com/PenGallery/Cleo/CleoSkribentPen.htm

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Parker wanted customers to see, feel and try new products and made demonstrator pens available to sales people and dealers. Dealers were encouraged to have at least one demonstrator for each sales counter. Parker 51 demonstrators were made of clear lucite so the customer would be able to see the nib and collector, otherwise hidden in the front section, and the aerometric filler unit through the clear barrel. Blue or green ink was recommended so the interior parts could still be seen when the pen was filled with ink. Because demonstrator pens were made in limited numbers and show the inner workings of the pen, they are valued by collectors and also tend to command higher prices than regular production pens. According to the book Parker "51" by David and Mark Shepherd, aerometric demonstrators proved popular to customers and Parker made them available for sale with the regular production color barrels.

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Parker wanted customers to see, feel and try new products and made demonstrator pens available to sales people and dealers. Dealers were encouraged to have at least one demonstrator for each sales counter. Parker 51 demonstrators were made of clear lucite so the customer would be able to see the nib and collector, otherwise hidden in the front section, and the aerometric filler unit through the clear barrel. Blue or green ink was recommended so the interior parts could still be seen when the pen was filled with ink. Because demonstrator pens were made in limited numbers and show the inner workings of the pen, they are valued by collectors and also tend to command higher prices than regular production pens. According to the book Parker "51" by David and Mark Shepherd, aerometric demonstrators proved popular to customers and Parker made them available for sale with the regular production color barrels.

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This is the Platinum Urushi Maki-e Sakura (Cherry Blossom) fountain pen, a current production model, retailing for $450. The design is very minimal but beautiful, cherry blossoms, buds and leaves that wrap about two thirds around the black cap and barrel of the pen. The base pen is the Platinum #3776, named for the height in meters of Mount Fuji. These pens carry 14 karat gold nibs.

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This is the Platinum Urushi Maki-e Sakura (Cherry Blossom) fountain pen, a current production model, retailing for $450. The design is very minimal but beautiful, cherry blossoms, buds and leaves that wrap about two thirds around the black cap and barrel of the pen. The base pen is the Platinum #3776, named for the height in meters of Mount Fuji. These pens carry 14 karat gold nibs.

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Moore offered the Fingertip in two colors of striped celluloid plastic, Autumn Pearl, a brown, and Seaspray Pearl, a green, in addition to six solid colors, Lustre Black, Sunset Red, Vintage Wine, Starlight Blue, Woodsman Green, and Eiderdown White. Fingertip pens sold for $8.75, a matching injector type pencil sold for $3.75, and pen and pencil sets sold for $12.50.

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Moore offered the Fingertip in two colors of striped celluloid plastic, Autumn Pearl, a brown, and Seaspray Pearl, a green, in addition to six solid colors, Lustre Black, Sunset Red, Vintage Wine, Starlight Blue, Woodsman Green, and Eiderdown White. Fingertip pens sold for $8.75, a matching injector type pencil sold for $3.75, and pen and pencil sets sold for $12.50.

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This is another of the three current production Platinum #3776 Century Urushi Maki-e pens, the Sansui (Landscape). Each pen has a deep black finish against bright gold plate trim and is fitted with a 14 karat gold nib, retailing for $450. This pen has a fairly elaborate landscape design, a scene of sailboats on a lake or river with mountains and trees in the background and birds flying in the air. The scene wraps about two thirds around the black cap and barrel of the pen and on the opposite side of the clip is a large deep glowing sun, possibly at sunset. The base pen, the Platinum #3776 Century, is named for the height in meters of Mount Fuji.

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This is another of the three current production Platinum #3776 Century Urushi Maki-e pens, the Sansui (Landscape). Each pen has a deep black finish against bright gold plate trim and is fitted with a 14 karat gold nib, retailing for $450. This pen has a fairly elaborate landscape design, a scene of sailboats on a lake or river with mountains and trees in the background and birds flying in the air. The scene wraps about two thirds around the black cap and barrel of the pen and on the opposite side of the clip is a large deep glowing sun, possibly at sunset. The base pen, the Platinum #3776 Century, is named for the height in meters of Mount Fuji.