Fine Writing - Stylus Magazine

covering the world of 

Fine 

Writing 

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O C T / N O V 2 0 0 3 

P r e m i e r e i s s u e w w w . s T y l u s m a g . C O m

Publisher’s Letter 

Why a pen magazine? In a recent survey sent to 

readers of Stylus’ sister magazine, International 

Wristwatch, the readership made it clear that the 

obvious connection between fine writing instru- 

ments and wristwatches was far more than super- 

ficial. In fact, pens were and are the most popular 

item collected (other than watches of course) 

among those readers surveyed. The parallels are 

obvious. A watch tracks time, a pen writes, yet 

both are much more than the sum of their func- 

tions. The history behind them both is rich and 

indicative of human ingenuity, and when worn or 

used they offer a small window into the person- 

ality of the owner. The technical, aesthetic and 

historical relevance of both writing instruments 

and timekeepers is obvious, and Stylus will offer 

editorial content with these parallels in mind. 

Stylus will offer a full spectrum of content 

within the world of pens and writing instru- 

ments. From in-depth features on modern 

brands to technical and vintage editorial, our 

content will continue to diversify within the 

genre based on reader input. Stylus’ content 

will cover accessories for pens, as well as inks, 

papers, calligraphy, repair and more. We will 

also highlight the fading skill of handwriting 

and feature high profile people who continue 

to write freehand in a world of keyboards and 

screens. 

❖ ❖ ❖ 

Written to appeal to both the avid collector 

and the novice, Stylus will become a valuable ref- 

erence guide to the world of writing instruments. 

Gary GeorGe Girdvainis 

Editor-in-Chief 

4 ocTober/november 2003 stylus 

64 

contents 

o c t / n o v 2 0 0 3 • n u m b e r 1 

Design in Hand: The History of 

Writing Instruments and the Written Word . . . . . . . . . . 16 

Grayson Tighe: Making Pens North of the Border . . . . . . 20 

Montegrappa: Italian Flair . . . . . . . . . . . . . . . . . . . . . 28 

Caran d’Ache: “Swiss Made” Applies 

to More Than Just Watches . . . . . . . . . . . . . . . . . . . . . 38 

Montblanc: The Ice Cap Cometh . . . . . . . . . . . . . . . . . . 50 

Palladio Dip Pen: Signum Honors 

Italian Architect Andrea Palladio . . . . . . . . . . . . . . . . . 58 

Fountain Pen Hospital: New York’s Pen Destination . . . 60 

76 

A .T . Cross: Fun and Functional 

Writing Instruments . . . . . . . . . . . . . . . . . . 64 

JFK Pens: Part I of a Continuing Series 

on the History of Presidential Pens . . . . . . . 68 

David Oscarson: Crystal Pen Creations and More 

Popular Freehanders: Author Tom Robbins’ 

Thoughts on Writing . . . . . . . . . . . . . . . . . . . . . . . . . . 80 

Bexley: Fine Pen Tradition Based in the U .S .A . . . . . . . . 82 

Maki-E: Exotic Enamels from the Orient . . . . . . . . . . . . 90 

PCA: Pen Collectors of America United . . . . . . . . . . . . . 96 

D .C . Pen Show . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

98 

Dunhill: A Very British Sense of Style . . . . . . .100 

Agresti: Luxury Living Quarters 

for Your Writing Instruments . . . . . . . . . . . . . . . . . . . 106 

c PLUS: 

departments 

Market 8 

Auctions 14 

16 

100

Spanning four centuries of writing 

instrument design, innovation and function 

B Y T E R R Y C H R I S T O F F E R S O N 

The Providence Art club will host the 

first-ever design retrospective in the 

United States on writing instruments 

october 5th through november 2nd. 

“Design in Hand: the evolution of 

Writing Instruments Since 1784” will 

explore the development of pen and 

pencil technology as well as the cultural 

history of the tool as a functional and 

ornamental object. 

nearly 100 objects, including quills, 

pens and pencils, from international collections 

will be displayed. Seminal objects, 

such as the first ballpoint pen, the Parker 

51 fountain pen (designed with a Lucite 

barrel to resist corrosion), montblanc’s 

16 october/november 2003 stylus

famous rouge et noir pen, 

and award-winning contemporary 

designs such as 

the morph2 rollerball from 

A.t. cross, will also adorn 

the display cases of the exhibition. 

Incorporated in 1880, 

the Providence Art club is 

the oldest association of its 

kind in new england and the 

second oldest in the United 

States. the club continues its 

18 october/november 2003 stylus 

Deacon Taylor House 

commitment to artists, collectors 

and the community at 

large as a nonprofit organi- 

Schedule of eventS 

* design Retrospective exhibit 

* Juried exhibition 

drawing: cross Media— 

Pen, Pencil and Ink 

* Quills to computers 

educational Youth Program 

zation. All proceeds will go 

toward the restoration of the 

historic Deacon taylor House, 

one-time home of the Pen 

and Pencil club of rhode 

Island and now owned by the 

Providence Art club. 

For more information on 

the Design in Hand exhibit, 

educational programs, events 

or sponsorship opportunities, 

call (401) 331-1114; or visit 

providenceartclub.org. ✍ 

* Pen fair 

Major collectors will have of 

pens for sale at the Benefit 

Street Armory, Saturday, 

october 18, 10 a.m. to 5 p.m. 

* Benefit Preview Party 

Saturday, october 4 (tickets required) 

International Wristwatch and Stylus 

magazines are proud sponsors of this event.

Inspired Creations 

from 

Grayson 

Tighe 

B Y M E G A N L I V O L S I 

Grayson Tighe 

20 ocToBer/novemBer 2003 s t y lu s 

Just three years ago, 18-year-old 

Grayson Tighe made his mark on 

the writing instrument industry as 

the youngest professional pen designer 

and maker in the world. Under 

the direct instruction of his father, 

renowned knife designer/maker 

Brian Tighe, designing 

and creating 

functional pieces of art seemed to 

come naturally for the young entrepreneur. 

When asked how he came to be 

involved in the writing instrument 

industry, Grayson explains, 

“Approximately four 

years ago, I was looking 

to buy a fine pen 

for myself. When I 

saw my choices, I 

was shocked to 

find that most 

pens were made 

o f p l a s t i c a n d 

plated brass. I was 

looking for an exclusive 

writing 

instrument that 

was well crafted 

with noble materials 

like a fine 

mechanical watch, 

or the art knives that I was 

familiar with. I thought that a pen 

was a great medium for artistic expression 

and from that point I set out 

to create my own fine pens, to my high 

standards. Having grown up with my 

father creating fine custom knives, I

knew how to cut and finish metal in 

a variety or ways. From there I was off 

on my journey.” 

Today, all Tighe writing instruments 

are instantly recognizable for 

their elegant design and precision 

craftsmanship. only the highest-quality 

materials are used, from titanium 

and 18-karat gold to ivory, stainless 

steel Damascus, mokumé-Gané and 

sterling silver. “my goal is to produce 

a timeless product with a marriage of 

form and function,” says Tighe. 

every Grayson Tighe pen is constructed 

to last a lifetime, turned from 

solid material for several hours on a 

lathe. each part is individually made, 

intricately finished by hand and then 

assembled one at a time. After passing 

the meticulous inspection process, 

the pen is then engraved with “Tighe” 

on the cap band and consecutively 

numbered on the reverse. “There are 

certain procedures that need to be 

performed by skilled hands to be done 

correctly,” explains Tighe. “Allowing 

each pen to have individual attention 

creates a product with distinctive 

character.” 

With all Tighe writing instruments, 

the fountain pen filling is accomplished 

with a piston converter to 

draw ink from a bottle or via the use 

of ink cartridges while the rollerball 

models feature an advanced refill that 

has a one-year cap-off time. 

Handmade in Germany in 18-karat 

yellow gold, the Tighe nib is engraved 

with a specially designed acanthus leaf, 

tipped with iridium and two-toned 

with rhodium. nib widths are available 

in a choice of fine, medium or 

broad. 

All Tighe writing instruments are 

presented in a faux stingray leather 

box, handmade in Switzerland, accompanied 

by a certificate of authenticity 

and a lifetime warranty. 

Being a small company that boasts 

extensive in-house manufacturing 

capabilities ensures that each Grayson 

Tighe pen is truly an exclusive creation. 

custom and one-of-a-kind pens are 

a specialty. In fact, many singular pieces 

are the result of original collaborations 

with well-known artists featuring 

exhibition-grade hand engraving 

and miniature sculpting. “I find great 

pleasure in pushing the limits of conventional 

manufacturing yet still using 

the best methods to create desired 

effects,” Tighe says. Prices for Grayson 

Tighe’s handmade pens range from 

$650 to $10,000 for the one-of-a-kind 

pieces. 

Tighe-Titanium 

“my major inspiration comes from 

fine art knives. I grew up around some 

of the world’s best makers like Wolfgang 

Loerchner, Jose de Braga and 

Tim Herman. These makers represent 

the pinnacle of design, materials and 

execution. Some of the materials I use 

to make my pens have been used to 

make fine knives for centuries,” explains 

Tighe. “I also gain inspiration 

from fine mechanical watches like A. 

Lange & Söhne, Ulysse nardin and 

roger Dubuis, among others. everything 

from the design, the techniques 

of manufacture, to the flawless finish- 

s t y lu s ocToBer/novemBer 2003 21

ing make these pieces stand out in my 

mind. I just love watches!” 

This year, Grayson Tighe introduced 

five new writing instrument 

designs, all available in 

both fountain pen and rollerball 

models. 

First in line is Tighe-Titanium. 

This ultra-lightweight pen features 

a frost barrel and cap, hand-rubbed 

satin trim and blued accents. The titanium 

clip is guilloche engraved and 

selectively blued. (The bluing is similar 

to that found on blued steel hands 

and screws on a high-end watch.) The 

fountain pen model retails for $750 

while the rollerball is priced at $650. 

representing luxury at its finest, 

Twist Damascus blends artistic design 


with expert craftsmanship. The barrel 

and cap are made of mirror-polished 

Damascus stainless steel in a fine twist 

pattern. (The stainless steel variety of 

Damascus, which dates back to approximately 

500 ad and is imported 

from Sweden, is the preferred kind 

because of its corrosion resistance. This 

Damascus is made by forge pattern 

welding two different grades of stainless 

steels together in one billet. The 

Twist Damascus 

layering and manipulation by forging 

continues until the laminated material 

is approximately 100 layers. once 

the finished part is machined from the 

rough billet, it is then heat-treated and 

tempered for optimal results. When 

the metal is etched in a special acidic 

solution, the artistic pattern is visible 

because the dissimilar metals 

dissolve at different rates and reveal 

contrasts.)

Odin’s Eye Damascus 

24 ocToBer/novemBer 2003 s t y lu s

The body is crafted in titanium with 

hand-rubbed satin trim and blued 

accents. The titanium clip is guilloche 

engraved and selectively blued. 

The Twist Damascus fountain pen 

retails for $1,400 while the rollerball 

model is priced at $1,300. 

Also crafted in Damascus stainless 

steel is the extraordinary odin’s eye 

Damascus. As the name indicates, the 

barrel and cap are made of Damascus 

stainless steel in a bold odin’s eye 

pattern. Like the Twist Damascus, the 

body of odin’s eye is in titanium, with 

hand-rubbed satin trim and blued accents. 

The titanium clip is guilloche 

engraved and selectively blued. 

odin’s eye Damascus is priced 

at $1,400 for the fountain pen and 

$1,300 for the rollerball model. 

Blending bold, earthy tones with 

strict attention to detail is the striking 

mokumé-Gané model. Pronounced 

“moe-Koo-may GAH-nay,” this ancient 

Japanese metal working technique 

was developed in feudal Japan 

by master sword smiths. The name 

translates as “wood grain metal,” referring 

to one of the most popular 

patterns created with this laminated 

metals technique, which is akin to 

Damascus steel. In this process, layers 

of contrasting colored non-ferrous 

metals, such as copper, brass, nickel, 

gold and silver, are fusion welded, using 

very high heat and pressure, into 

one solid block or billet of metal. 

This billet is further manipulated by 

forging, twisting and carving to develop 

more and more complex patterns. 

The barrel and cap feature copper 

and German silver in a bold twist 

pattern while the titanium body 

with hand-rubbed satin trim boasts 

browning on the accents. The titanium 

clip is guilloche engraved and 

selectively colored. 

Brightly polished with the copper 

etched in relief and colored with a rich 

s t y lu s ocToBer/novemBer 2003 25

fire orange patina, the mokumé-Gané 

fountain pen is priced at $1,400 and 

the rollerball model retails for $1,300. 

Grayson Tighe’s Fossil Ivory model 

is a statement of understated elegance. 

The barrel and cap are made of fossilized 

mammoth ivory. mammoth 

ivory or mastodon ivory is fossilized 

from the woolly mammoth, a mammal 

similar to that of an elephant 

but larger. Although they originated 

in Alaska and russia, woolly mammoths 

have been extinct for at least 

10,000 years. Their now fossilized 

ivory tusks are a very rare and precious 

material, buried deep within 

Fossil Ivory 


the permafrost. The quality of mammoth 

tusk is as good as elephant ivory. 

Because harvesting this ivory saves 

the lives of elelphants, mammoth 

ivory is 100 percent legal to export 

internationally without cites or other 

paperwork. 

The body of the Fossil Ivory is 

crafted in titanium, with hand-rubbed 

satin trim and browning on the accents. 

The titanium clip is guilloche 

engraved and selectively colored. 

The rare antique ivory is polished 

to a high gloss and can be protected 

with renaissance wax, which comes 

with every Fossil Ivory model. Sug- 

gested retail for the Fossil Ivory fountain 

pen is $1,400 and the rollerball 

model is priced at $1,300. 

With the amount of success Grayson 

Tighe has achieved in just three 

short years, one might think that the 

young designer would take a much 

deserved break. on the contrary, the 

determined Tighe shows no signs of 

slowing down. 

“The future is a bright one. I have 

a lot of control over my manufacturing 

and I’m going to try my hardest 

to be the most innovative pen company 

with a broad range of capabilities,” 

says Tighe. “I plan to produce a

B Y N A N C Y O L S O N 

Created in 

opalescent resin 

with solid silver 

fittings, a solid 

18-karat gold nib 

and a cap band set 

with 21 brilliant- 

cut diamonds, the 

Micra Diamond 

Orange completes 

the collection, 

which includes 

pink, light blue and 

charcoal.

To understand the brand montegrappa, one must first under- 

stand the place of its birth. bassano del Grappa is an enchanting 

city among many in Italy’s venetian Arc, and though it is just an 

hour’s drive from venice, it is light years away in sensation and manner. blan- 

keted by the shadow of mount Grappa, the city’s quiet foothill perch affords 

a perfect vista of the surrounding countryside, interrupted only by the fast- 

moving river brenta. bassano del Grappa is known for its colorful and finely 

painted ceramics, silversmiths and, of course, grappa—the fiery Italian liqueur 

that can make poets of the tongue-tied, if only in their minds. visitors can sit 

at one of the many serene and flower-laden outdoor cafes and contemplate the 

craggy remains of the wall that once surrounded the city or meditate on the 

medieval castle that stands watch. Strict architectural controls are enforced 

by local government, ensuring authentic restoration of existing buildings and 

severely limiting new construction. As an example, the city’s landmark cov- 

ered bridge—one of many that has spanned the brenta since the thirteenth 

century—is a postwar reconstruction of Italian architect Andrea Palladio’s 

sixteenth-century design. At one end of the famous footbridge is a shrine of 

sorts and a local tourist attraction, a tiny liquor shop dedicated to grappa and 

its roots in the region. 

the city’s long history in art and metalworking no doubt gave rise in 1912 to the small company that was to become 

montegrappa. Founders Heinrich Helm and Alessandro marzotto focused on the manufacture of gold nibs and ebonite 

s t y lu s october/november 2003 29

and precious metal pens. most of 

their production at that time, however, 

was for private labels, so early 

examples of the company’s production 

are as rare as throngs of noisy 

tourists are in the company’s founding 

city today. the marzotto family 

acquired majority interest in the 

company in 1921. 

bassano was a center of military 

operations during World War 

I, and elmo-montegrappa pens, as 

they were then called, were popular 

among servicemen. Interestingly, 

a local villa near the factory, villa 

Azzalin, was converted to a field hospital 

to attend to the demands of the 

war, inadvertently weaving ernest 

Hemingway into the company’s early 

history. the famed American writer 

had volunteered for service as 

an ambulance driver for the Italian 

red cross, thus bringing him to 

the region. He purportedly used the 

company’s pens for his correspon- 

30 october/november 2003 s t y lu s 

dence and even visited the factory 

on occasion. the company’s eventual 

adoption of the name montegrappa 

directly recalls the epic defense of 

mount Grappa by Italian forces dur- 

ing that war. 

early on in the firm’s journey from 

regional artisan to global acclaim, 

it used “new” materials to craft 

its pens. celluloid, a highly flammable 

mix that included camphor 

and pyroxylin, and galalith, made 

from casein, were popular. And the 

cutting-edge approach exhibited in 

choice of materials was practiced in 

design, color and technology during 

this very creative period in the company’s 

history, the years between the 

world wars. 

because of its strategic location, 

bassano del Grappa was heavily 

involved in military operations during 

World War II, and many materials 

used by the small pen maker were 

either destroyed or diverted to the 

war effort. Surviving this devastation 

and once again gearing up production, 

the company endured further 

insult in the form of a fire in the celluloid 

store in 1946 that destroyed an

Montegrappa enriches the Symphony collection with 

a superb dark blue that is accentuated by the unique 

brillance of celluloid. Available in fountain pen, 

ballpoint and rollerball, with finishing parts in 

sterling silver, the Symphony boasts an 18-karat 

gold nib with ebonite feeder and comes in red, 

pearl, turquiose, yellow and black. 

entire wing of the facility. by 1947, 

the tenacious company was producing 

pens in many unique styles, but 

it placed its focus on precious metals 

rather than celluloid and continued 

this tack until relatively recently. the 

company officially changed its name 

to montegrappa Srl. in 1947. 

In the latter part of the 1970s, 

Gianfranco Aquila purchased montegrappa. 

the brand was not new 

to Aquila; his family had had interest 

in the company for decades, 

and his father, Leopoldo, had been 


purchasing private-label pens from 

elmo-montegrappa since the 1930s. 

Gianfranco maintained operations 

in the bassano building that had 

housed the company for decades; 

thus the environs spoke tradition, 

but the vision was entirely new. With 

the introduction of the reminiscence 

pen in 1983, a reproduction of a 1915 

design, montegrappa was launched 

into new markets and began a new 

chapter in its history. 

Aquila’s longer-range business 

plans included his sons, and one 

by one, over a period of years his 

dream was realized. taking on the 

creative, production and administrative 

roles necessary to a company 

with its sites on global distribution, 

Leopoldo, ciro and 

Giuseppe joined their father at 

montegrappa. “I have worked 

in the pen business all my life,” 

says the elder Aquila of his devotion 

to and knowledge of the product. 

but making pens a family affair 

transcended his vast experience and 

brought freshness to the company, 

as well as a series of exquisite limited 

editions heralded by the 80th 

Anniversary Pen in 1992. 

In 1995, montegrappa introduced 

the Dragon, whose striated celluloid 

body is covered with a three-dimensional 

1.5-mm precious-metal dragon 

overlay. the molds for the overlay 

were created by Italian sculptor 

Federico monti and took ten months 

to complete. the pen was introduced 

in both sterling silver and 18-karat 

gold; 1,912 pens were produced in 

silver, 100 in gold. Another limited 

edition of note is the Luxor, an 

egyptian-themed pen introduced in 

1996. these were also crafted of celluloid 

and were offered with either a 

sterling or 18-karat gold high relief 

overlay. In 1997, the company produced, 

in this writer’s opinion, its 

piéce de resistance of the decade—the 

Aphrodite. the pen has an ebonite 

body and a precious metal faceted 

overlay displaying a sensual rendition 

of the goddess of love designed by 

Federico monti. the hefty yet balanced 

pen is embellished with mother-of-pearl 

inlays, further raising the 

bar both in creativity and production 

capabilities of the company. 

In 2000, montegrappa was purchased 

by the richemont Group, 

naming Sergio de bon the president 

and ceo shortly after the company’s 

acquisition. De bon’s experience 

with other luxury brands, including 

his role as managing director 

of officine Panerai marketing and

The soon-to-be-released White Night’ nib is 

embellished with the St. Petersburg coat of arms.

The baguette-shaped 

presentation casket is 

handmade from the purest 

crystal. 


comunicazione Srl, the company 

responsible for the development 

of the Panerai watch brand, bodes 

well for montegrappa’s future in the 

world of finery. 

montegrappa thus far has maintained 

its avid interest in limited 

editions and its penchant for working 

with precious metals. new intro- 

ductions for october 2003 include 

the Journey on the river rhine in 

fountain pen and rollerball versions. 

Low-relief engravings of scenic riverbank 

landscapes embellish the 

pen. Five hundred fountain pens and 

500 rollerball pens were produced in 

sterling silver; fifty fountain pens 

and fifty rollerball pens were produced 

in gold. White nights, slated 

for early november, commemorates 

the third centenary of the founding 

of St. Petersburg. there are five versions 

comprising 1,703 numbered 

pieces: 1,305 fountain pens and 300 

rollerballs in sterling silver and fortytwo 

fountain pens and forty-two 

rollerballs in 18-karat gold and fourteen 

fountain pens in 18-karat gold 

At the center of the 

Peace Pen’s cap is a 

brilliant-cut, threequarter-carat 

diamond 

surrounded by several 

rows of more than 70 

diamonds. This unique 

writiing jewel is enrobed 

with a total of 1,259 

diamonds, 48 carats in 

all. The platinum nib is 

engraved with the artist’s 

initials and with the 

classic symbols of peace: 

two crossed olive 

branches and a dove 

in flight.

accented with rubies and sapphires. 

Low-relief engravings recalling the 

history of the russian city decorate 

the barrels and caps of the pens; white 

resin and enamel further enhance 

them. the pens come in a white resin 

presentation box decorated with the 

St. Petersburg coat of arms. earlier 

in 2003, the America’s cup Writing 

Jewel was introduced in honor of 

the America’s cup race. the edition 

comprises 1,851 fountain pens 

and 152 rollerballs in sterling silver, 

152 fountain pens and thirty-one 

rollerballs in 18-karat gold. the pen 

features the America’s cup trophy 

engravings. 

the commemorative Peace Pen, 

a platinum, diamond and crystal 

wonder created by Florentine artist 

David montalto di Fragnito was 

brought to the public in 2002. the 

faceted pen combines engraving, 

baguette-cut diamonds and baccarat 

crystal, creating an ethereal piece 

that is weighty in its size and intent, 

yet light in the reflective aspect of its 

whopping 48 carats of diamonds. 

though not a limited edition but 

nonetheless compelling, the miya collection 

made its debut in September 

2003 and features red, yellow or turquoise 

celluloid and sterling silver in 

eye-catching combination. the collection 

includes fountain pens and 

rollerballs, a very impressive variety 

of nib sizes—extra fine, fine, medium, 

medium oblique, broad, extra 

broad, broad oblique and stub—and 

an ebonite feeder designed and produced 

by montegrappa. the fountain 

pen is cartridge or converter 

filled, and the pen caps are finished 

with montegrappa’s signature Greek 

key band. 

In its headlong pursuit of fine 

pen lovers worldwide, montegrappa’s 

reach has extended far from its 

deep and pastoral roots in bassano 

del Grappa. but in spirit, the products 

maintain their abiding character, 

transcending time and distance 

and, undoubtedly, allowing people 

who use them to touch luxury at 

its best. ✍ 

Journey on the River Rhine 



Precisely swiss 

The art of exactness, meticulous style, balance and care 

B Y J O N M E S S E R 

The serious artist knows who invented the water-soluble crayon, where to find 

the highest quality color pencils or who uses only high-intensity pigments. The 

answer can only be Caran ‘d Ache. For decades, serious artists have relied solely 

on the quality, consistency and integrity of Caran d’Ache for their supplies. 

Center of the universe for all great watchmakers, Switzerland is also home to Caran 

d’Ache. Founded in Geneva in 1924, this marvelous 

firm, a dutiful group of serious professionals, remains 

Switzerland’s only manufacturer of elegant writing instruments, 

personal accessory leathers, the highest quality 

lighters and an unbelievable trove of sublime artist’s 

supplies. 

Its name is rooted in the annals of art history. Founder Arnold Schweitzer 

selected the name after a famous French caricaturist of the Belle Époque, 

Emmanuel Poiré (1859-1909) whose work he greatly admired. Born in 

Moscow and the grandson of an officer in Napoleon’s Grand Army, Poiré 

had a magnificent talent. Through his art, he created stories without words. 

A contributor to many newspapers, including Lundi du Figaro, Poiré was 

hailed and renowned as the father of comics. He signed all his works Caran 

d’Ache, a French transliteration of the Russian word for pencil, “karandash.” 

A slightly modified replica of his signature became the company’s brand 

logo for their color products.

leman Diamonds 


Arnold Schweitzer began the business 

by acquiring the ecridor Pencil 

Factory. He faced heavy competition 

from Germany, but with ingenuity, 

tenacity and solid marketing talents, 

caran d’Ache soon became the brand 

leader in Swiss markets. one by one, 

the firm grew to eight buildings in 

the center of Geneva. In 1974, it 

moved to a centralized headquarters 

in the thonex portion of Geneva. 

through this elaborate world-class 

precision factory, caran d’Ache distributes 

its products to over ninety 

countries around the globe. 

Having been through the factory 

twice in the past dozen years, I consider 

it a truly marvelous operation, 

a very real corporate family as it has 

been for many generations, employees 

included. As I walked the halls 

with its president, I noted the smiles 

he receives from employees. He also 

knows their names, all of them. At 

caran d’Ache, there is one mindset 

and focus: producing and delivering 

pure quality. 

tradition and historical records 

are ever present. Just as one would 

find in the recorded annals of Patek 

Philippe or breguet, caran d’Ache 

keeps complete details of service 

and the preferences of its customers. 

While walking a tour of their operation 

on my first visit in the early 

‘90s, I entered a library-like room 

with built-in floor to ceiling polished 

wood file storage. “this is where 

we keep all customer service and 

preference records,” my guide said. 

“Including mine?” I chimed. “We 

shall soon see,” came the gracious 

reply. A technician in a blue lab coat, 

who was standing near us referring 

to other archives at the time, said 

to my host, “And the gentleman’s 

name is…?” I give my name, the 

fellow mounts an angled ladder on 

sliding brass guides, reaches into a 

reference drawer above my head and 

removes two large file cards. my host 

reads: “Yes, you are mr. Jonathan 

messer, a journalist from new York. 

In 1991, you returned your black 


caran d’Ache world headquarters 

lacquer hexagonal lighter for a 

flame adjustment and service. It 

was received in good condition on 

[date] and returned two weeks later. 

In 1990, you requested a nib adjustment 

for the pen that matches the 

lighter.” my impression? these folks 

are very serious about their customers’ 

satisfaction, not just their 

product generation. 

In all serious undertakings, standards 

of quality may be measured 

by the efforts applied and the end 

results. At caran d’Ache, we find 

a marvelous blend of technology, 

research and development and testing, 

and then testing again. Some 

products take years of development 

and study before they reach public 

eyes or hands. 

Inside caran d’Ache everything 

has a beneficial, good purpose. All 

manufacturing wastes are collected 

and recycled. metal parts are cleaned 

in a closed-circuit environment that

prevents pollutants from escaping 

into the atmosphere. Wood shavings 

are collected and compressed into 

bricks, which in turn, help to fuel 

the factory’s central heating system. 

Likewise, a closed-circuit water filtration 

system not only eliminates all 

risk of water pollution but also saves 

water and energy. 

ecologically sound in every 

respect, caran d’Ache knows that 

consumer safety and the preservation 

of a healthy environment are 

essential. their production process 

Top: Handfinishing 

Middle: Precise inspection 

Bottom: Technical proficiency 


has been ISo certified since 1996. 

the wood used in their pencils is 

from sustained and managed forests 

with replanting provisions that do 

not jeopardize the ecosystem. 

Dial back to 1929, when caran 

d’Ache developed the Fixpencil, 

the world’s first all metal mechanical 

clutch pencil. true to form, it 

has been a bestseller ever since. In 

1931, the company developed and 

launched the world’s first color pen- 

ecridor collection 

cil with a water-soluble lead. the 

Prismalo Aquarelle success went on 

to conquer the art world. 

Add Supracolor and Pablo (as 

in Picasso) color pencils, neopastel 

oil pastels, Gouache paints and the 

internationally renowned neocolor 

crayons and you can readily see how 

diverse and wide its palette truly is. 

caran d’Ache pioneered the color 

circle code and many teaching techniques 

and kits to support its artists

and aficionados 

Historically, caran d’Ache has 

a litany of collections: ecridor, 

madison, Hexagonal, Geneve, 

Leman, carbon Fiber and varius. 

every writing instrument aficionado 

can readily find a style, size and color 

to suit his or her taste. 

collections at caran d’Ache 

include four writing instrument 

modes to fully cover any need of a 

writer: fountain pens with a wide 

selection of nib sizes offered; rollerballs 

that also accept an international-size 

refill that can alternate with 

either a fine or broad writing softtip; 

and unbelievably accurate droplead 

pencils and their always precise 

ballpoint pens. At caran d’Ache it 

is not enough to make the instrument; 

it must also make refills to 

insure performance, durability and, 

of course, robust colors. examine the 

process by which it makes and tests its 

Goliath giant ballpoint refills and one 

easily learns this is a very serious matter. 

every Goliath ballpoint refill is 

made of nickel-silver alloy. the sealing 

plug on one end of the cartridge 

is pervious to air to ascertain a steady 

ink flow. Likewise, a silicone plug 

prevents any ink back-flow. Insure 

consistent flow and long write-out, 

the refills are as precise as the pen in 

manufacture and durability. 

For the eye and the hand, caran 

d’Ache offers rich lacquers, gold-plated, 

silver-plated or rhodium-coated 

trims to complement their designs. 

Hold the Hexagonal collection 

and you will see masterful lacquer 

work or the option of inlaid carbon 

fiber. newest in the Hex design 

is “cubes,” in silver with rhodium- 

coated protection. their Hexagonal 

design is both flawless in conical 

tapering and perfect in balance. visit 

the ecridor collection and you see 

timeless styling and a choice of retro, 

chevron, Grain d’orge, Florentin, 

Arlequin, maya or Ligne pattern 

designs. And this series also offers 

demi-length pens of full diameter 

and clip. care to wear one around 

your neck? caran d’Ache offers a 

chain model as well. 

Durability is a wonderful thing. 

Sixteen years ago, I received a black 

lacquer, four-piece Hexagonal Set. I 

use them regularly; they perform religiously 

and the “china-Laq” looks 

pretty good considering I knock them 

all over the place. Whoops! And while 

I’m at it, since I write with ballpoints 

with a rather heavy hand, I 

really enjoy a broad blue refill that 

can put down a really fat line. caran 

d’Ache does justice to the term broad. 

nothing skimpy or medium-esque in 

feel or lay-down here. caran d’Ache 

makes a fat writing, true broad refill 

that flows effortlessly. both blue and 

black colors are deep and bold. 

Above: ecrido in production 

Below: carbon fiber collection 


If you’re looking for diversity in 

color or finish, peruse the Leman 

collection and you may select from 

many finishes: racing green, sapphire 

blue, ebony, godron or mirror 

rhodium finishes or the godron 

gold. there are striking options to 

suit many tastes. 

the varius collection is quite 

unique and available in all four 

instruments. the entire collection 

right: From the Varius collection, 

the Metrub (top right, and the 

Metwood (bottom right) 

Below: leman collection 


is based on a silver metal body 

that is rhodium-plated and 

will not tarnish. Since I put 

my money where my mouth 

is, I can tell you that I use, 

based upon the day or mood, 

all three designs in this collection. 

varius has caran d’Ache’s 

traditional hexagonal design 

and you can currently select 

from three finishes: metwood,

Above: la Modernista 

right: la Modernista diamonds 

a rosewood of depth and warmth; 

Ivanhoe with a “coat of mail” finish; 

and metrub, with its center body 

covered in an extremely endearing 

and hand-friendly rubber. A 

metrub ballpoint is often in my 

briefcase or pocket. 

For the aficionado of limited 

editions or elaborate gems, caran 

d’Ache is a candy store full of delicious 

Swiss chocolates. Any firm that 

produces a pen with so many precious 

stones that it is featured in the 

Guinness Book of Records is certainly 


not playing around. 

Some Caran d’Ache 

Limited Editions 

Serious effort goes into caran d’Ache 

creations. An example of this must 

include La modernista Diamonds. 

created in 1999 as an homage to Antonio 

Gaudi (1852-1926), the most 

famous of modernist architects. the 

pen is rhodium-coated solid silver 

and pavéd with diamonds and rubies. 

there are 5,072 top Wesselton 

vvS full-cut diamonds totaling 20 

carats and ninety-six half-cut ru- 

bies (just for the logo on top) that 

absolutely light this pen up! earlier 

in 1995, caran d’Ache created the 

engraved and perfectly enameled La 

modernista as a limited edition to 

honor modernism. La modernista 

was packaged with a snail-shaped, 

hand-blown crystal inkwell that 

matched the pen’s clip design, and 

was delivered in a sumptuously lined, 

elegant wooden box. Since the capital 

of modernism is barcelona, caran 

d’Ache produced 1,888 numbered 

pieces to commemorate the year of

la Gotica limited edition 

its first World’s Fair. 

In mid 2001, Lagoon was released 

and soon followed by a matching 

lighter (limited to ninety-nine 

pieces) for those who indulge. 

resplendent nacre is a bright, long 

slab of mother-of-pearl on a silver 

and rhodium-plated body. Lagoon 

(a limited-edition fountain pen) 

takes the dimension of a long body 

and short cap reminiscent of the 

“fancies” of the early 1900s, while 

the contour is hexagonal to highlight 

the prominence of the vivacious 

pearl inlay. 

In January 2003, caran d’Ache 

released La Gotica, dedicated to both 

Gothic art and architecture. each 

panel of this hexagonal pen is decorated 

with tall Gothic windows, 

fleurs-de-lis and rosette motifs. A 

work of art and pure craftsmanship, 

La Gotica is a major statement in 

your hand. this is truly a beautiful 

and “ultimate level” signature pen. It 

is limited to 1,140 pieces as the birth 

of the Gothic period is generally 

accepted to be the year 1140. 

most recently, caran d’Ache 

expanded its Jewelry collection with 

the additions of Ivanhoe in 18-karat 

yellow gold set with six diamonds, 

and Leman in 18-karat, offering 

both rose and yellow gold with diamonds. 

newest in limited editions is a 

tribute to the 300th anniversary of 

St. Petersburg, made up of 300 sets, 

each with a fountain and ballpoint 

pen. the fountain pen is engraved 

with the city’s coat of arms and St. 

Petersburg’s famous statue of the 

bronze Horseman is on the ballpoint 

pen. each set includes a St. Petersburg 

commemorative medal as well. 

to complement their writing 

instruments, caran d’Ache also offers 

some elaborate accessories. Imagine 

a lighter that has more functioning 

parts than some wristwatches. 

A lighter with a secondary gas tank 

is available should you find yourself 

away from your reserve. Always considering 

needs and uses, each lighter 

is made to produce an angle flame. 

this accommodates pipe, cigar or 

cigarette smokers and prevents the 

flame from scorching or marring the 

lighter’s cover. this is truly precision. 

the lighter is available in patterns and 

finishes matching many of the writing 

instruments. 

considerate of the business needs 

of both gentlemen and ladies, caran 

d’Ache offers briefcases, portfolios, 

large and small organizers, wallets, 

card holders, jotter notepads, key 

rings, key cases and one- and two- 



ivanhoe, Varius collction 

pen holders in ultra-soft fine 

leathers in both classical and 

modern colors. 

there is simply not enough 

space to properly detail and 

credit their accomplishments in 

one article. visit the complete 

collection by going to www. 

carandache.ch. 

Good taste? Picasso thought 

so. He should know; he used 

caran d’Ache products. 

Precisely Swiss … and that is 

why at caran d’Ache, the corporate 

philosophy is “Quality has 

no limits!” ✍

The 26th 

New York Custom Knife Show 

November 7, 8, 9 - 2003 

Friday: 12 noon- 8 pm Saturday: 9am – 6pm Sunday: 9 am- 3pm 

P resented by: 

Fifty Fifty Productions, LLC 

For more information and to contact show sponsors: 

Stephen D’Lack / Ed Wormser 

P.O. Box 6071, Branson, Mo 85815 

Tel: 417-335-2170 Fax: 417-335-2011 

Custom Collectibles 

Choose from an array of the 

worlds finest knives and exquisite 

objects, including watches, 

pens, coins, and other investment- 

grade collections. 

Most renowned….. 

knifemakers,engravers and 

scrimshanders. Take the opportunity 

to see, hold and purchase 

the ultimate in handmade, 

handcrafted knives from special 

show stocks or custom order 

your vision. 

New York’s Hotel Pennsylvania 

Across from Madison Square Garden 

401 7th Avenue & 33rd Street, New York NY 

For reservations & special NYCKS rates: 800-223-8585 212-736-5000 

Visit us at www.nyckshows.com 

Super Quality & Selection 

Voice:417-335-2170 Fax:417-335-2011 E-mail:bg_inc@hotmail.com

Montblanc’s 

Journey to the Summit 

M a n y l i M i t e d e d i t i o n s l a t e r, M o n t b l a n c i s n o l o n g e r j u s t a p e n 

In 1906, Theodore Roosevelt 

won the Nobel Peace 

Prize, Finland gave women 

the right to vote, it cost just 

two cents to mail a firstclass 

letter in the United States 

and a consortium of businessmen 

from various walks of life decided 

to produce fountain pens in Germany. 

Though these men couldn’t 

predict the eventual impact of 

their resolution, they are the undeniable 

taproots of the company 

Montblanc. 

Just two years later the Simplo 

Fillerpen Company was formally 

born in Hamburg, setting 

up shop in rented office space in 

the Industriepalast. Also that year, 

the Rouge et Noir (literally meaning 

“red and black”), now highly 

coveted among pen collectors, was 

introduced. Named for its black 

hard rubber body and red-topped 

cap, the pen remains one of the 

earliest examples of the fledgling 

company’s manufacturing capabilities. 

The Simplo pen and the 

Diplomat followed soon thereafter, 

and just a couple of years 

hence, the trade name “Mont- 

50 oCToBeR/NoveMBeR 2003 s t y lu s 

m 

Meisterstück 

nib and cap 

blanc” was registered along with 

the famed white star—or snowcap, 

depending upon one’s sights. 

But it wasn’t until 1924 that the 

Meisterstück, the emblematic 

B Y N A N C Y O L S O N 

pen for which the company is 

perhaps best known among pen 

lovers worldwide, was born. 

When first introduced, the 

Meisterstück’s claim to fame was

its lifetime guarantee and its high 

price tag. It was the top of the line 

among the company’s offerings, 

yet the black hard rubber safety 

pens sold well despite their cost. 

Lever-filler pens and button fillers 

were variously introduced, but by 

1938 the piston filler system had 

laid claim to the line. Interestingly, 

it was the Meisterstück that first 

brandished the “4810” engraving, 

its significance being the height in 

b 

Meisterstück 149 

Fountain Pen 

Wolff 

Heinsrichsdorff, 

executive vice 

president of 

Montblanc 

International 

. 

meters of the Mont Blanc peak as 

measured at that time. 

As most students of pens will 

agree, Montblanc has offered an 

impressive assortment of writing 

instruments throughout the years. 

But it is the Meisterstück that remains 

the icon of the brand and 

continues to give birth to various 

renditions of itself. In 1983 the 

Meisterstück Solitaire Collection 

was born in solid gold, sterling 

silver and vermeil, and in 1986 

Montblanc catapulted further 

into the fine writing-instrument 

market with the Meisterstück 

leading the way. This “dawning of 

a new era” at Montblanc opened 

the door to pens as luxury accessories, 

and the rest, as they say, is 

history. 

But what exactly is luxury in 

the world of pens? According to 

Wolff Heinsrichsdorff, executive 

s t y lu s oCToBeR/NoveMBeR 2003 51

vice president of Montblanc International, 

the notion of a luxury 

product is twofold. It is both a 

means to “project one’s image to the 

social environment” and perhaps 

more important, it suggests a sense 

of timelessness while unabashadly 

marking time. “Luxury [products] 

carry memory of significant moments,” 

he says. As such, they are 

worthwhile to keep, maintain and 

give to one’s heirs. They are birthday 

gifts, graduation presents and 

business awards, and they express a 

full range of emotions in that context. 

A leader, if not the initial instigator, 

of the unlimited world of 

limited editions, Montblanc introduced 

its first in 1992 in response 

to the company’s growing 

involvement in arts initiatives. The 


The new Paris 

boutique on the 

Champs-Elysées 

. 

Lorenzo de Medici, a replica of a 

Montblanc fountain pen from the 

1920s, was produced in an edition 

of just 4,810 pieces. Also that year, 

the ever-popular Meisterstück 

line was extended and new product 

lines—leather goods, handmade 

paper and desk accessories—were 

introduced. This was 

also the time when Montblanc 

de la Culture and the Montblanc 

Arts Patronage Award, an annual 

event honoring outstanding patrons 

of the arts, was instituted. 

Limited editions in a stunning 

array of materials and designs 

have been offered annually thereafter, 

and the company remains a 

strong pacesetter in this arena. In 

fact, thirty of the company’s limited-edition 

pens recently found 

their way into Christie’s Magnifi- 

cent Jewels Auction. The Patron 

of the Arts and Writers edition 

limited series are of continuing 

note. 

In 1994 the Meisterstück 

dressed itself up in the Meisterstück 

Royale, an 18-karat solid 

gold pen mounted with 4,810 diamonds. 

At the time of its introduction, 

the pen’s retail price was 

more than $100,000. Much more 

diminutive and with a lot less 

flash, the Wolfgang Amadeus Mozart, 

also part of the Meisterstück 

range, was introduced in 1996. The 

Leonard Bernstein pen—a portion 

of its selling price went to the 

Montblanc Philharmonia of the 

Nations—entered stores that year, 

and perhaps most significantly 

for the brand, a men’s jewelry 

line meant to complement the in

exhaustible Meisterstück line, became 

available. 

Since its debut in 1924, the 

Meisterstück has inspired Montblanc 

with an unwavering need to 

create and the public with another 

no less important need: the desire 

to have. Thus, the company would 

have been remiss in not counting 

seventy-five candles on the pen’s 

figurative birthday cake in 1999. 

The celebration lasted a full year 

and chose “75 Years of Passion 

and Soul” as its theme. Chairman 

and Ceo Norbert Platt explained 

the choice of theme: “Passion is 

what makes extraordinary things 

happen. It is the fire which melts 

the impossible and what makes 

our craftsmen strive for perfection 

when they manufacture the 

quality that the name Montblanc 

demands.” A variety of limited- 

edition collections—pens, jewelry 

and watches—as well as the 1924 

Meisterstück collection, made 

their debut throughout the year. 

one introduction that demonstrates 

the creativity and wit of 

the company best is Le vilain Petit 

Canard. The collection of pens, tie 

bars, cuff links and watches tells 

the age-old story of the metamorphosis 

of the ugly duckling into 

the beautiful swan. The crazed 

lacquer assortment suggests a 

cracking egg from which a tiny 

gold beak protrudes on many of 

the pieces. This and other collections 

produced that year were 

available exclusively at Montblanc 

boutiques. 

That’s right … Montblanc 

opened its first boutique in 

1990 in Hong Kong, followed 

by shops in London and Paris in 

1993 and one on Madison Avenue 

in Manhattan in 1995. The 

compact, flawlessly executed 

and perfectly located shops sell 

the full range of products that 

over the years has expanded to 

m 

The new Star 

Walker Collection 

Montblanc’s 

matching 

accessories 


include leather goods, writing 

paper, jewelry, watches, eyewear, 

fragrance and, oh yes, pens. In 

November, a 2,500-square-foot 

flagship boutique on the corner 

of 57th Street and Madison Avenue 

will open. This store marks 

Montblanc’s forty-ninth North 

American boutique and is approximately 

2,000 square feet 

larger than its predecessor, located 

just around the corner and which 

wil be closing. Says Heinrichsdorff 

of the understated elegance and 

comparative hugeness of the new 

boutique, “It is an opportunity 

to give our customers a three-dimensional 

view of the company, 

to breathe the air of Montblanc.” 

In July, Jan-Patrick Schmitz 

was named president and Ceo 

of Montblanc North America, 

replacing Karsten Martens who 


m 

Left: Copernicus 

888; right, 

Copernicus 4810 

served in that role for the last four 

years. Says Norbert Platt, “With 

his outstanding operations expertise 

as well as his impressive 

record for growth, Mr. Schmitz 

is ideally suited to accelerate the 

company’s growth in the United 

States.” Schmitz has been with the 

company since 1994, most recently 

as director of the international 

executive committee and head of 

global supply chain management 

at the headquarters in Germany. 

Montblanc continues its support 

of the arts, awarding annual 

prizes since 1992 to significant 

contributors in various disciplines. 

“everyone involved with 

Montblanc de la Culture feels 

a social responsibility to leave 

something of value behind,” says 

Heinrichsdorff of the company’s 

strong commitment to culture. 

Thus, a jury of artists from 

around the world are asked to select 

patrons who have made the 

most significant contributions of 

time, talent, creativity or money 

to the arts, and awards are given 

annually in ten regions around 

the globe. each winner receives 

a trophy showcasing a solid gold 

Limited-edition Patron of the 

Arts fountain pen and a check for 

15,000 euros to be given to the 

cultural entity of choice. 

This year’s North American 

Arts Patronage Award winner is 

hip-hop impresario and founder 

of the Rush Philanthropic Arts 

Foundation, Russell Simmons. 

The award pen is the Nicolaus Copernicus 

in two editions: one in a 

series of 4,810 pens and the other 

in a series of 888. Suggesting the 

concentric circles of the earth’s 

orbit around the sun, the pen fea-

Jules Verne 


Left: Danny Simmons (Russell’s brother and Rush cofounder), Marion Davidson (senior VP marketing, Montblanc North America), 

Jason Binn (publisher of Gotham/Hamptons magazines) and Rush Kids 

Right: This year’s North American Arts Patronage Award winner, Russell Simmons, hip-hop impresario and founder of the Rush 

Philanthropic Arts Foundation 


b 

Actor Alan 

Cumming chats 

with a Rush Kid 

From right, 

Russell Simmons, 

Marion Davidson, 

Judith Jamison 

(head choreographer 

for the Alvin 

Ailey American 

Dance Theater 

and a 2003 

Montblanc 

Arts Patronage 

Award Juror) and 

Rush Kids 

. 

tures nine precious metal rings 

encircling the dark barrel, and the 

signature star on the cap crown 

is mother-of-pearl. The Nicolaus 

Copernicus Limited-edition 888 

series features white gold embellishments 

rather than the sterling 

silver found on its counterpart, 

and each concentric ring is 

adorned with a gemstone. 

Heinrichsdorff acknowledges 

the role pens play in the ever- 

expanding array of products offered 

by Montblanc. “Pens will 

continue to be the heartbeat of 

Montblanc. our soul is in writing.” 

He further states that while 

pens may be used primarily to 

communicate the written word, 

they are mistakenly thought of 

only as implements of that ilk. 

Pens are “power tools, and the 

Montblanc 149 is exactly that,” 

he says. Witness the number of 

snow-white stars peaking out of 

breast pockets and purses at any 

gathering of sophisticates. Yet the 

full and diverse range of Mont- 

blanc products, from fragrance 

to watches to pens carry the same 

“DNA,” says Heinrichsdorff. “All 

of our products are a pleasure to 

use, and our customers feel familiar 

with them immediately. 

They reflect their personality,” he 

says. “That’s the reason they want 

Montblanc.” 

Montblanc “air” is becoming 

rarer with each passing year. Women’s 

Wear Daily recently ranked it 

ninth in a list of fifteen “stores de 

force,” trailing Cartier, Louis vuitton 

and Polo Ralph Lauren and 

ahead of such fashion brands as 

Gucci, Prada and Bulgari. No longer 

simply a pen brand, one can 

only speculate about what products 

may be in the future. But it 

is the pen upon which the company 

was founded so many years 

ago, and, it seems, pens continue 

to serve as both ballast and inspiration 

for the boundless journey 

ahead. ✍

Essegi’s Palladio 

Honoring the Italian Renaissance architect with this magnificent golden pen 

B Y T E R R Y C H R I S T O F F E R S O N 

58 OCTOBER/NOVEMBER 2003 s t y lu s 

Located in Bassano del Grappa, Italy, Essegi was formed in 1979 by three brothers, 

Antonio, Sergio and Fausto di Guidolin, who had previously worked with Montegrappa 

to produce high-quality writing instruments. After leaving Montegrappa, the 

brothers, along with Antonio and Sergio’s children, Daniella, Paola, Claudia and Fabio, 

continued to produce those same high-quality writing instruments under the brand 

name of Signum. 

To honor Andrea Palladio, 

whose inspired architectural 

creations have helped shape 

the world that surrounds 

us today, the city of Vicenza 

(located in northeast Italy and 

world-renowned within the 

jewelery industry), commissioned 

Essegi to fashion a pen 

depicting the work of Palladio 

in gold honoring the Italian 

Renaissance architect. Thus, 

the Palladio D’Oro (Golden 

Palladio) was born. 

This prestigious award honors 

those who have made significant 

contributions to the 

world community, whether in 

the arts, sciences, literature, 

community services or philanthropy. 

Recently awards were 

bestowed upon Carlo Rubbia, 

the recent Nobel Prize Laureate 

in physics (February 8), the 

director and actor Giorgio 

Albertazzi (March 7), architect 

Alvaro Siza, and American 

author Derek Walkott. Each

award presentation, made by 

the mayor of Vicenza, Enrico 

Hullweck, has taken place 

against the backdrop of the 

city’s Teatro Olimpico. 

From its cap to the barrel 

to the nib, the Golden 

Palladio reflects the decorative 

elements and designs typical 

of some of Palladio’s famous 

architectural works, including 

Villa Caldogno, the Basilica, 

Palazzo Chiericate, the Villa 

Elmo and the Rotonda. The 

top of the lapis cap features 

the coat of arms of the Commune 

of Vicenza. 

Extremely limited (only 

twenty pens have been produced), 

this pen is not for 

sale. However, Essegi has produced 

a complete line of pens, 

fashioned around the Palladio, 

available in a limited edition 

of 1,508, in honor of Andrea 

Palladio’s birth year. This line 

is available at fine retailers 

nationwide. 

The city of Vicenza had 

graciously placed the magnificent 

pen on loan to 

Empire Writing Instruments, 

the North American distributor 

of Signum Pens, for 

display at the recent New 

York City Pen Show, which 

was held on September 19, 

20 and 21. ✍ 

From its cap to 

the barrel to the 

nib, the Golden 

Palladio reflects 

the decorative 

elements and 

designs typical of 

some of Palladio’s 

famous architectural 

works. 

s t y lu s OCTOBER/NOVEMBER 2003 59


The FounTain 

Pen hosPiTal–ParT i 


World War II had just ended. Soldiers came home and families celebrated. Industry 

retooled to consumer needs and production quickly resumed like a bat out of hell. 

The Wiederlight family in their store, circa late 1940s 

In 1946, one “just home” 

lucky fellow, Phil Wiederlight, 

had the opportunity to join his 

dad, Al, in a new business they 

opened in the heart of new 

York’s bustling downtown: the 

Fountain Pen Hospital. You 

may recall that then, the “tool 

of the day” was the fountain 

pen, just as it still is to many 

today. 

Since the key to pleasing 

customers is service, Al and 

Phil quickly got busy and never 

stopped. Family members, and 

then other staff helped out, adjusting 

nib tines or clips, cleaning 

mechanisms, replacing 

bladders, diaphragms, spring 

bars, button actuators and the 

like. A positive can-do rightaway 

attitude established a 

level of service that was and is 

unsurpassed to this very day. As 

word of their fine service and 

customer satisfaction spread, 

so did their need for space. 

the Fountain Pen Hospital 

(FPH) moved and then moved 

again, each time to a larger location. 

today, a third generation 

is at the helm at FPH. What be-

gan as a small storefront service 

counter grew to a national and 

then global business. Pen enthusiasts 

from all points on the 

compass frequently visit FPH 

when in new York. terry Wiederlight 

and his brother Steve 

welcome everyone and make 

every effort to accommodate 

any need or request. 

What do betty Grable, ernest 

Hemmingway, President 

Franklin roosevelt and count 

basie have in common? the 

very same thing Dizzy Gillespie, 

norman brokaw, bill cosby, 

Jerry bruckheimer, colin Powell, 

rudy Guilianni and ricky 

marshall have in common. they 

are/were very satisfied Fountain 

Pen Hospital customers. 

If you’ve inherited your 

father’s, grandfather’s or greatgrandfather’s 

vintage pen and 

would like it serviced, Steve 

will date it, describe the model, 

its attributes and let you know 

when it will be ready or good 

(again) to go! Want another 

one? Steve will tell you if they 

have one on hand or might 

have to source one for you, 

“no problem.” After all, there 

have been hundreds of makers 

and tens of thousands of 

models and colors. Likewise, if 

you wish to swap it for another 

model or sell it to them, you’ll 

receive a prompt and honorable 

offer. the choice is always 

yours. because FPH’s reliability 

and service are linked, satisfied 

customers have been returning 

for decades. 

FPH’s store and 

staff grows, circa 

1950s 


FPH’s repair 

shop, about 

half a 

century ago 

Just read about a new model 

or limited edition? terry will 

ask you your nib and color 

preference. If you’re in the 

store, they’ll fill it with your favorite 

ink and if it’s by phone, 

fax or online, you only need to 

tell them how rapid the delivery 

should be. terry’s mantra is 

“Get it in, get it out!” After all, 

the true hallmark of customer 

service is ensuring rapid receipt 


and utility. 

offering a wealth of today’s 

writing instruments—fountain 

pens, ballpoints, rollerballs, 

soft-tips, pencils, highlighters 

and underliners—FPH stocks 

over forty major makers and 

brands. Walking into the store 

quickly puts the pen fancier 

on cloud nine. See the chart 

on page 66 and you’ll readily 

understand why FPH assists 

many major manufacturers in 

their new-product launch and 

releases. 

to complement the vast 

array of fine writing instruments, 

FPH offers an incredible 

selection of nib sizes, inks, 

refills, leather carrying cases, 

desk-top accessories, display 

and ornate storage boxes. every 

budget and gift need can be 

accommodated. to feed your

The Fountain Pen 

Hospital today 

head, they offer a worldwide 

selection of historical reference 

texts, collector editions, repair 

manuals and tools (if you’re so 

inclined). 

through the vigilant and 

determined efforts of both terry 

and Steve, FPH has become 

the world’s largest showcase of 

fine writing instruments. to 

further widen their expertise, 

ed Fingerman, noted fountain 

pen historian, author, commentator, 

past president of the 

Pen collectors of America, allaround 

aficionado and good 

friend, joined FPH in 1997, as 

director of operations. 

Knowing what, where and 

how are the technical aspects 

of assuring quality customer 

service. this quality is often 

out of sight and unseen, but 

not at FPH. Whatever you wish 

to know, their objective is to 

accommodate your thirst for 

knowledge, access and satisfaction. 

It’s a matter of pride and a 

true family commitment. 

because of some early serendipitous 

good fortune and prudent 

planning and purchasing, 

FPH has amassed a monumental 

store of parts, findings, clips, 

end jewels, levers, pushrods, 

barrels, tapers, caps and nibs. 

We will take you deep into the 

catacombs of FPH (oK, the 

basement) where this wealth 

of vintage parts and products 

lies in our second installment 

(Dec/Jan issue). 

From all points, FPH is a 

true reference in writing instruments. 

✍ 

Brands Offered 

at FPH 

ACME 

Ancora 

Aurora 

Bexley 

Caran d’Ache 

Cartier 

Conklin 

Conway Stewart 

Cross 

Dani-Trio 

Delta 

Dupont 

Faber Castell 

Fisher 

Krone 

Lamy 

Lepine 

Loiminchay 

Marlin 

Michel Perchin 

Montblanc 

Montegrappa 

Monteverde 

Namiki 

Nettuno 

Northpointe 

Omas 

Parker 

Pelikan 

Retro 51 

Rotring 

Sensa 

Sheaffer 

Stipula 

Stypen 

Think Pens 

Underwood 

Visconti 

Waterman 

Yard-O-Lead 

Not Just For Fun 


Made in America— 

A. T. Cross 

For more than 150 years, A.T. Cross has been internationally recognized for the quality 

craftsmanship of its products. Founded by Richard Cross in 1864 in Lincoln, 

Rhode Island (where the company’s headquarters and manufacturing facilities 

remain today), this distinctly American brand features an extensive line of innovative 

writing instruments and personal accessories. 

The Ion blends bright colors 

with futuristic design. 

64 OCTOBER/nOvEmBER 2003 s t y lu s 


Cross was a highly skilled 

pen and pencil maker, who 

passed his knowledge on to his 

son, Alonzo Townsend Cross. 

In 1916, the Cross family sold 

the company to a trusted 

employee, Walter R. Boss, who 

later brought his sons Ellery 

and W. Russell into the business. 

Ellery retired in 1996 and 

W. Russell, who later retired in 

1985, was joined by his sons 

Bradford in 1958 and Russell 

in 1961. 

David G. Whalen became 

president and CEO of the 

company in 1999, but Walter 

Boss’ grandsons remain an 

important piece of the 

puzzle today: Russell 

A. Boss is chairman 

of the board and 

Bradford B. Ross is 

chairman emeritus. 

With more than 

twenty-one registered 

patents, Cross 

has created many important

“firsts” in the field of writing 

instruments. These include 

the propel-repel mechanical 

pencil, a forerunner of today’s 

mechanical pencils, and the 

Stylo-graphic pen, the precursor 

of the ballpoint pen by 

more than seventy years. 

Currently distributed in 

more than 140 countries 

worldwide, Cross writing 

instruments constantly 

stretch the limits of both 

design and creativity. 

“A.T. Cross is committed 

to building brand awareness, 

which we respect tremendously,” 

says Terry Wiederlight of 

the Fountain Pen Hospital, 

in new York City. “We also 

like the fact that Cross is an 

American company and that 

its innovative design appeals 

to everybody. We know we 

can rely on their professionalism 

and their proven track 

record.” 

From the classically elegant 

Century pen to the futuristiclooking 

Ion models, the Cross 

collection has something for 

everyone. In recent years, the 

company has made a point to 

meet the needs of a younger 

audience. With the introduction 

of such hip and affordable 

writing instruments as 

the Ion, morph and matrix, 

Cross has brought an element 

of fun to the art of writing. 

“People expect more from 

Cross,” says David G. Whalen, 

who takes personal pride in 

the quality of every A.T. Cross 

product. All Cross employees 

share in the company’s goal of 

quality in the manufacturing 

process. In fact, Cross allows 

any employee in production 

to reject a part or product that 

appears faulty. 

The Cross brand’s commitment 

to its customers extends 

to its lifetime mechanical warranty 

on all writing instruments. 

Any Cross writing 

instrument returned for service 

is repaired or replaced at 

no charge to the customer. 

Blending futuristic style 

with bright colors, the Ion 

ranges from just $25 to $30. 

The clever design allows you 

to see the color of the ink in 

your pen, and gel ink refills are 

available in six contemporary 

colors. The pen can be opened 

and closed with one hand and 

features a soft-touch grip. It 

fits comfortably in a pocket or 

purse, and with an innovative 

“quick-clip” attachment, it can 

hook onto a key ring. 

The Ion’s front section and 

anodized or chrome-plated 

aluminum cap surround a 

sculpted ellipse that reveals 

the gel ink refill and features a 

recessed Cross logo. Some of 

the most popular Ion models 

include Aurora Blue, Jupiter 

Orange, Lunar Gray and Solar 

The Matrix is 

equipped with an 

optional fountain 

pen or rollerball 

attachement. 

s t y lu s OCTOBER/nOvEmBER 2003 65

The Morph’s 

adjustable grip 

can be molded 

into the holder’s 

desired shape. 

Red. 

A remarkably functional 

pen, with an optional fountain 

pen or rollerball attachment, 

the matrix ranges from 

$20 to $100. Standard features 

include dual ballpoint refills 

and a polymetric stylus tip 

for smooth PDA operation. 

Additional options include 

gel rollerball refills available 

in six colors and a document 

marker refill. 

The Cross morph ballpoint 

pen brings a new level 

of ergonomics to the writ- 

66 OCTOBER/nOvEmBER 2003 s t y lu s 

ing instrument industry. Its 

silicone adjustable grip can 

be molded into the holder’s 

desired shape: circular, triangular 

or anywhere in-between. 

The morph also comes with 

a distinctive pen clip design 

with a floating stainless steel 

ball that rolls smoothly into 

any pocket. 

Featuring an anodized aluminum 

finish and lustrous 

chrome appointments, all 

morph models are accompanied 

by a specially designed 

two-piece gift box and are 

available in Jet Black, Quicksilver, 

Electric Blue and mars 

Red. Suggested retail is approximately 

$50. 

The morph Collection also 

includes a line of Digitalwriter 

Duo writing instruments, 

which include a ballpoint pen 

and PDA stylus combination, 

offered in a choice of matte, 

anodized aluminum and polished 

finishes. 

With 150 years of experience 

in the writing instrument 

industry behind it and a bright 

future ahead, one thing is for

P r e s i d e n t a l P e n s 

The Pens 

of JFK’s Presidential Pens 

B Y J O H N L O R I N G 

John F Kennedy’s personal pen was a Sheaffer. Until he took 


office as our President he carried one in his coat pocket, and 

when he moved into the Oval Office his two Sheaffer desk 

pens moved with him. But these were not his Presidential Pens. Every 

President since World War II has had inexpensive, specially imprinted 

“Presidential Pens” to be used on ceremonial occasions, such a bill sign- 

ings and then gifted to invited guests or, often in several other varieties, 

simply as gifts unrelated to any bill signing to remember a visit to 

the White House, a Presidential visit or least we forget, a gener- 

ous reelection contribution. Generally speaking Presidential Pens 

are inexpensive collectables, often found for less than $100 and 

seldom for more then a few hundred, but the Presidential Pens 

of JFK are both rare and a bit of Camelot and are infrequently 

found for less the several hundred dollars and often for well


notwithstanding, comparatively 

little is known about these pens; they 

are often clouded with myth, and all 

to often the subject of intentional or 

unintentional fraud at the expense of 

both collectors and those who would 

just own a bit of camelot alike. my 

purpose is to offer an overall picture 

of the Kennedy Presidential Pens, 

identify some open questions and 

provide some guidance in avoiding 

this esterbrook desk pen with a black 

nib holder is erroneously referred to as 

the ‘Kennedy Bill signer’. 





pitfalls. 

the silverCraft Gift Pen 

JFK’s initial Presidential Pen was a Silvercraft 

ballpoint, the barrel of which 

was encased in thin sterling silver floral 

filigree wrap with a “John F Kennedy” 

bold, block letter cutout. Silvercraft 

was the maker of the sterling silver 

wrap, not the pens, and instead used 

the pens of many manufacturers. the 

underlying pen for the Silvercraft 

Kennedy Presidential Pen was alternatively 

a black Parker Jotter or a red 

Sheaffer ballpoint. JFK used these 

pens for personal gifts for at least the 

first part if not all of his administration. 

the Silvercraft Presidential Pen 

was a natural outgrowth of a Silvercraft/ 

Kennedy relationship that began 

when Silvercraft made a similar 

pen for then Senator Kennedy using a 

less expensive Imperial ball pen with 

a “Senator John F Kennedy” cutout. 

Upon the Senator’s election to the 

presidency, Silvercraft adorned the 

new administration with a variety of 

pens. For the Inauguration, a black 

or light blue Waterman or turquoise 

Parker Jotter ball pen and pencil set 

with a “John F Kennedy Jan 20 1961” 

cutout. And as personal presidential 

gifts for initial high-ranking presidential 

appointees, a light blue Waterman 

pen and pencil set with a “John F Kennedy 

Jan 1961 [appointee]” cutout. 

While all Kennedy pens are rare, 

the Silvercraft Senator JFK is the most 

commonly found, and the Silvercraft 

presidential JFK, although far rarer 

than the Senator pen, is the most frequently 

found of the Presidential Pens. 

I would speculate that the Senator 

pens numbered in the few thousands, 

the Presidential Pen in the mid to high 

hundreds, the Inaugural set in the mid



hundreds and the appointee gifts one 

Parker 45 demonstrator 

apiece. In the recent Hantmans Kennedy 

Auction, two Senator pens went 

for $600 and $420, and three Presidential 

pens went for $780 and two 

sold for $900. In the same auction an 

Inaugural set went for $1,920. (All reported 

auction prices herein include 

the buyer’s premium.) 

the esterbrook Bill signer 

next is the pen commonly but somewhat 

inaccurately referred to as the 

‘Kennedy bill Signer’. this is an esterbrook 

desk pen with a black nib holder 

and a clear plastic taper imprinted 

“the President – the White House”. 

the pen appears to be a dip pen, but 

the black nib holder assembly houses 

a feed, so technically, it is a fountain 

pen with limited ink-storage capacity. 

there is a fair amount of mythology 

about this pen. For instance, it is said 

that JFK designed it. nothing could 

be further from the truth; in fact, like 

all Presidential Pens, it is a standard 

commercial model, distinguishable 

only by its special imprinting, which 

dates back to eisenhower, who adopted 

the pen and the imprinting as 

his official bill signer. Following his 

election, JFK continued to use the esterbrook 

as his bill signer as did LbJ 

for a year following his taking office. 

thus the “DDe/JFK/LbJ bill Signer” 

is the more appropriate reference. (It 

should be noted that clinton used an 

esterbrook for two bill signings to 

make historical points.) 

While at first glance all the esterbrook 

bill Signers appear the same, 

upon close inspection, one finds that 

there are four significant imprint 

variations. two have imprintings 

measuring 33 to 34mm long, one in 

gold and the other in white, which are 

both attributable to DDe with some 

carryover to JFK. the third, white 

imprint variation is 39 to 40mm long 

which appears to be primarily attributable 

to JFK with some carry over to 

LbJ. the fourth (with two placement

variations, the imprinting on one beginning 

closer to the black nib holder 

than the other) also in white is 43mm 

long and was probably used exclusively 

by LbJ. (measurements are from the 

bottom of the vertical of the first “t” 

to the end of the bottom horizontal of 

the final “e”). All of this is based on a 

limited universe of pens and subject 

to revision, but it appears that there 

is no single variation that can be attributed 

to JFK exclusively and only 

the fourth, the 43mm variation, seems 

comfortably excluded from his use. 

regardless of which variation JFK 

used, he found the steel nibbed esterbrook 

to be a comfortable pen for 

making short notes and reportedly 

replaced a Sheaffer pen in one of the 

oval office Sheaffer desk bases with 

an esterbrook. Prompted by that report, 

several years ago I did likewise 

with an esterbrook from my collection 

and that pen continues to remain 

on my desk, in daily use. 

virtually all the esterbrook bill 

Signers found today are the 43-mm 

variety attributed to LbJ. this is because 

when LbJ left office there were 

upwards of more than two thousand 

of those pens that were shipped down 

to texas and subsequently sold at the 

LbJ museum store for $50 or less. 

(they are now sold out.) on the other 

hand, the three shorter imprint variations 

are quite rare. one would think 

that this would translate into significantly 

greater value, certainly several 

hundred dollars, but since virtually no 

one is aware of the imprint variations 

presently, there is no real distinction in 

the market. Until fairly recently, there 

were essentially two markets for the esterbrook 

bill Signer: $50 from the LbJ 

Library Gift Shop for a 43-mm pen and 

several hundreds of dollars from sellers 

that puffed the same 43- mm pen as 

being a “Kennedy bill Signer”. I should 

note one other occasional, unfortunate 

situation, in which 43-mm pens are being 

authenticated by former Kennedy 

staffers as a JFK item. While I believe 

such authentication is in error, I also 

believe that the error is an innocent 

one occurring because the authenticator 

is not and never was aware that 

there were imprint variations. Given 

the assassination and transition, these 


staffers probably left the LbJ White 

House taking a few esterbrook pen 

souvenirs without realizing that the 

pens they took came from post-assassination 

reorders (LbJ gave away a phenomenal 

amount of pens as compared 

with JFK). 

‘Would be’ Parker Bill signers 

and the Parker Gift Pens 

Prior to JFK’s election the Parker Pen 

company had no direct association 

with Presidential Pens. As noted Silvercraft 

sometimes used a Parker 

Jotter ball pen and pencil as the body 

for its sterling wrapped Kennedy pen. 

During Kennedy’s brief term of office, 

however, Parker decided to become 

directly involved and made a concerted 

effort to directly supply specially 

imprinted pens for both bill signing 

and gift giving, particulary from its 

then newly introduced 45 line. 

From Parker correspondence to 

the White House, it appears that in 

early 1962 Parker convinced the White 

House staff to change over from the 

esterbrook bill signer to a Parker 45 

desk ball pen and to that end shipped 



498 of them to the White House together 

with a special desk base. but the 

substitution never came to pass, leaving 

one to suspect that the Parker 45 

desk ball pen was vetoed by none other 

then JFK, who had come to appreciate 

the esterbrook. I am embarrassed 

to add that a number of years ago, 

before becoming aware of this correspondence, 

I was offered but refused a 

Parker 45 desk ball pen imprinted on 

two lines “the President / the White 

House”. most likely that was the pen in 

question, the only example I have ever 

come across. 

A second possible attempt to supplant 

the esterbrook bill signer was a 

clear body Parker 45 “demonstrator” 

fountain pen but with an eagle seal, 

as opposed to the very similar Presidential 

seal. I am advised that the 45 

demonstrator was only produced in 

the early 1960s and folklore, at least in 

pen circles, has it that those few found 

with an eagle seal were prototypes 

supplied to JFK for possible use as bill 

signers. Perhaps conflicting, however, 

it is reliably reported by an eyewitness 

that President Johnson actually used 

such a pen to sign a minor bill 

into law, then gave the pen 

to the informant. Sorting 

this out, we 

know that the 

pen was either 

supplied to JFK 

or LbJ as a prototype bill 

signer; we know that after LbJ came to 

office, unlike JFK, he did not like (and 

later put aside) the esterbrook, so its 

quite possible that he ‘tested out’ some 

Parker 45 demonstrators remaining in 

the White House supply closet from 

the Kennedy Administration. on the 

other hand, it may be that Parker supplied 

the pen directly to LbJ and not 

to JFK. by a hair, I tend toward the 

JFK origin, if only because, unlike a 

year or two earlier, by the time LbJ 

came to office it is likely that Parker 


would have had the ability to stamp 

the prototype with a Presidential seal. 

In any event while the details are 

murky it is clear that Parker was 

unsuccessful in putting a Parker bill 

signer into the JFK White House. (Do 

not fret. Parker succeeded a few years 

later with LbJ and continued to supply 

the Presidential bill signer until it 

moved pen manufacturing to europe 

during the clinton Administration.) 

Parker was, however, at least partially 

successful in pushing Silvercraft aside 

as President Kennedy’s gift pen with a 

Parker 45 Jotter and standard Jotter 

ball pens. Although subsequent events 

have caused no little confusion. 

the Kennedy Parker 45 Jotter is a 

silver, cap-activated ball pen found either 

with a black, blue or a light gray 

barrel, silver or gold tone arrow clip 

and engraved in silver with JFK’s signature 

above “the White House”. It 

appears that only a few hundred 

of these pens in total 

were supplied 

t o t h e 

W h i t e 

Ho u s e . And 

i f s u r v i v i n g e x - 

amples are any measure 

certainly far fewer than the Silvercraft 

Presidential pen. At the recent 

Hantmans Kennedy Auction, two of 

these pens were sold: one for $600 

and the other for $1,800. Given the 

prices realized for the Silvercraft pens 

in that auction, the latter price was 

more in keeping and the former “bargain” 

was likely due to being slotted the 

second lot in an early-morning sale. 

the standard Parker Jotter is a 

push-activated ball pen with a silver 

cap, a black barrel, silver clip and engraved 

with JFK’s signature below 

“the White House”. I know of but 

one authentic example of the pen so I 

suspect that less then a hundred were 

made. 

All of this would hardly be confusing 

but for the Kennedy Library, 

which, some years ago, began offering 

a souvenir standard Jotter ball pen 

very similar to the original, imprinted 

with JFK’s signature over “the White 

House” and initially not stamped as 

replicas. these Library souvenir pens 

have all too often passed as originals 

and led to a number of misconceptions, 

including, alternatively, that the 

Parker 45 Jotter is a fake (it is not) or 

at the other extreme that the Parker 45 

was the only Parker Kennedy gift pen 

(equally incorrect). Library Jotters 

stamped “replica” are 

readily distinguishable 

from 

t h e 

origin 

a l , a n d 

fortunately so, too, 

are the unstamped Library 

pens: First, the Library pens 

are printed, not engraved, and with 

the Kennedy signature above “the 

White House” rather then below. 

Second, the push activator of the 

White House pen has a smooth convex 

top while the Library pen push 

has a concave top imprinted with 

the Parker logo and the White House 

pen cap has metal threading while the 

Library pen has plastic threading (if 

an older cap is put on a Library pen 

barrel the barrel will show double 

threading). 

Which Parker Jotters came first, 

the 45 or the standard Jotter, I cannot 

say with any certainty. We have a December 

1962 letter from JFK’s secretary, 

evelyn Lincoln, to Daniel Parker 

thanking him for furnishing the “tball 

Jotter pens”. We also have a report 

from neil Grauer, a freelance writer

lyndon B. Johnson Presidental Pens 

Below: signing of the nuclear test Ban treaty 

that “one of the personalized Parker 

Arrow clip ball-point pens” was found 

inside the President’s desk a year after 

his assassination. but both pen models 

had arrow clips and both were referred 

to as Jotters. my own suspicion is that 

given the greater variety and numbers, 

the Parker 45 Jotter was the gift pen 

that found favor with JFK and came 

after the standard Jotter was rejected. 

neil Grauer also writes that the pen 

found in JFK’s desk had a presidential 

seal on it. If that report is correct then 

that pen represents another otherwise 

unseen Parker gift-pen variety, but I 

tend to suspect that Grauer, a writer 

and not a collector, simply erred in his 

description. 

special Occasion Pens 

beyond bill signers and general gift 

pens, there are also Presidential Pens 

for special occasions. one such pen for 

JFK was for celebrating his first birthday 

in office. It is a silver capped, black 

barreled Fischer, engraved on five lines 

in white, “President Kennedy’s / birthday 

Dinner / beverly Hilton Hotel / 

beverly Hills / may 22, 1961. 

related Pens 

closely related to specially imprinted 

Presidential Pens are similar pens for 

the vice President, White House staff 

and the president’s family. 

vice President Johnson loved to 

give away pens and, in contrast with 

President Kennedy, was a prolific giver, 

distributing literally thousands in his 

travels throughout the world. His vice 

Presidential pen was a U.S. Pencil co. 

ball pen first supplied in five different 

colors but then in two successive reorders 

only in four different colors with 

the imprint language changing for 

each reorder. Given the large number 

of these pens and his general exclusion 

from camelot, vP LbJ pens are 

usually found for less than $50. 

the personal secretaries for both 

President Kennedy and First Lady 

Jackie Kennedy had pens, although al- 


most certainly personal gifts to them 

rather than for “give aways” from 

them. mary Gallagher, Jackie’s secretary, 

had the nicer Silvercraft ball pen 

and pencil set with her name cutout 

in the sterling wrap over red Parker 

Jotters, matching the First Lady’s 

similar set. but evelyn Lincoln, the 

President’s secretary, had the more 

interesting, gold-tone ready riter 

ball points, one imprinted with her 

name and the other with that of her 

husband. they are of particular interest 

because they are the first White 

House appearance of a pen that became 

the inexpensive Presidential gift and 

office pen for the next thirty years, 

for every President from LbJ through 

George H.W. bush. Apparently there 

was more than one pen company during 

the Kennedy Administration trying 

to gain the imprimatur of being a Presidential 

Pen supplier. 

typically least valuable, President 

Kennedy’s specially imprinted family 

pens are hardly so. Apparently, when 

JFK took office, Silvercraft gifted ted 

Kennedy (and maybe even robert 

Kennedy) with Parker ball pen(s), 

with a sterling overlay “edward m 

Kennedy” cutout, and the First Lady 

received a Silvercraft turquoise Parker 

Jotter ball pen and pencil set with a 

sterling overlay “Jacqueline Kennedy” 

cutout. At the Hantsman auction 

those pens sold respectively for 

$360 and $1,800. And following their 

respective elections as United States 

Senators in 1962 and 1965, Silvercraft 

supplied the brothers with Silvercraft 

“Senator” Parker ball pens as it had 

for JFK. 

coming full circle, following the 

1968 assassination of robert Kennedy, 

Silvercraft made up fifty memorial 

gifts sets consisting of replicas of 

its “Senator John F. Kennedy”, [President] 

“John F. Kennedy”, “Senator 

edward m. Kennedy” and “Senator 

robert F. Kennedy” ball pens each on 


Crystal Clear 

How David Oscarson turns everyday objects into beautiful works of art 


“One f the greatest compliments 

I’ve ever received 

is when someone recently 

referred to our writing 

instruments as 

the Patek Philippe 

of pens. We are a very 

personal, very small, very 

family-oriented company,” 

explains the young father of 

three (with another on the 

way) from Missouri. “The 

care and quality that goes 

into our products is truly 

extraordinary and sets 

us apart from others 

within the industry.” 

The handmade, limited-edition 

writing instruments 

in the David Oscarson Collection 

blend strict attention to detail 

with quality materials and timehonored 

craftsmanship. Countless 

hours are dedicated to the 

creation of each individual 

piece. Crafted in England, the 

entire collection bears British 

hallmarks. 

“I would say that we make 

76 OCTOBEr/nOvEMBEr 2003 s t y lu s 

Everyone is talking about it: a high-quality, high-priced 

writing instrument is the latest must-have in the luxury accessory 

realm. The writing instrument industry is 

growing steadily, thanks in no small part to the 

beautiful creations of David Oscarson. 

between five 

to ten pens per 

week,” says Oscarson. 

“Cur-rently, we produce 

approximately 500 pieces 

every year, though we hope to 

increase that number somewhat 

in the future. Our production 

is limited because of 

the meticulous care and painstaking 

detail that goes into each 

and every piece.” 

In June of 2000, David 

Oscarson made his first foray 

into the writing instrument 

market with the introduction 

of the Henrik 

W i g s t r ö m 

Trophy Collection. 

Created in tribute 

to Wigström’s brilliant 

creations for the House of 

Fabergé (best known for the 

famous Imperial Fabergé 

Eggs) from 1903 to 1918, 

this one-of-a-kind collection 

is handcrafted from sterling 

silver featuring an elegant guilloche 

pattern. Oscarson is also 

the first to incorporate two 

colors of translucent hardfired 

enamel on each Henrik 

Wigström Collection pen. 

Oscarson’s Winter Collection 

raised the bar for the 

industry in 2002, by incorporating 

three levels of guilloche 

engraving on each collection 

piece; the first forms an ice

anch pattern in high relief 

while the second, a pinstriped 

background, is interrupted by 

a third dimension of frost. This 

ground-breaking design is finished 

in four wintry variations 

of translucent hard enamel. 

For 2003, David Oscarson 

takes it up another notch with 

the world’s very first Crystal 

Fountain Pen, one with a 

remarkable filling system. To 

satisfy a new generation of 

collectors, the barrel accommodates 

a rollerball refill, a 

fountain pen cartridge and/ 

or fountain pen converter, 

all of which can be masked 

by a removable sterling silver 

sleeve finished in rhodium or 

18-karat yellow gold vermeil. 

For the true pen aficionado, 

however, the pen also comes 

equipped with a glass eyedropper 

for those who prefer 

the traditional technique of 

replacing ink. A series of seals 

and O-rings secures the ink in 

the crystal chamber while also 

protecting the inner threads 

and workings of the pen. 

When asked where the 

inspiration for the Crystal 

Collection came from, Oscarson 

explains, “I spent much 

Opposite page: 

Henrik Wigstrom 

Trophy Collection 

was the first 

line of writing 

instruments made 

by David Oscarson. 

s t y lu s OCTOBEr/nOvEMBEr 2003 77

The Winter Pen Collection is 

the second of a series of 

limited-edition writing instruments, 

produced in four-color 

variations, each limited to 

production of 128 pieces (100 

fountain pens; 28 rollerballs). 

of my youth in Stockholm. 

As a boy, my parents would 

take me to the crystal factories 

down south where I could 

watch the craftsmen at Kosta 

Boda and Orrefors work their 

magic blowing crystal into 

fine pieces of art. This fascination 

has stayed with me over 

the years, and I have finally 

78 OCTOBEr/nOvEMBEr 2003 s t y lu s 

found a way to incorporate 

full-lead, hand-blown crystal 

into my creations.” 

Produced in four different 

colors (blue, green, lavender 

and yellow), each limited to 

the production of 128 pieces, 

the new Crystal Collection 

incorporates Full Lead English 

Crystal from the country’s 

only remaining working Brick 

cone. Established in 1755, this 

circular structure houses multiple 

furnaces where over the 

years some of the world’s finest 

crystal has been created. Each 

piece in the Crystal Collection 

is blown, cut, ground and 

polished entirely by hand to 

Oscarson’s exacting design

specifications, resulting in a 

remarkable technical feat. 

Hand-crafted from 18karat 

gold and sterling silver, 

each precious metal component 

passes through stages of 

precision engraving, creating 

an intricate pattern known as 

guilloche, a painstaking process 

which brings life and light to 

the surface of precious metals. 

The “reed and pellet” design 

of the Crystal Collection 

requires two separate levels of 

engraving; the first forms a pinstriped 

background that is then 

interrupted by a second level of 

circular and floral accents. 

Translucent hard enamel is 

ground by hand and applied 

with a quill to the guilloche 

surface of the silver. Each piece 

is then fired in a furnace at 

temperatures exceeding 1,000 

degrees Farenheit, where the 

enamel is fused to the silver 

and formed into glass. 

The glowing pieces are 

removed and cooled, then 

ground with a diamond file 

to restore their original shape 

and surface. 

The final stage of firing 

requires no grinding, filing 

or polishing. The result is a 

perfect finish 

of translucent 

glass enamel. 

Engineered 

in Heidelberg, 

Germany, the 

18-karat gold nib 

is unsurpassed in both quality 

and form. Coupled with 

an ebonite feeder, each nib 

is rhodium-plated and tipped 

with iridium to ensure durability 

in fine, medium and 

broad sizes. 

With his ever-expanding 

collection, which ranges from 

$3,700 to $4,200, Oscarson 

hopes to revive the elegant art 

of writing. “These pieces are 

for people who want the very 

best—something that can be 

passed on to future generations.” 

For those writing instrument 

enthusiasts who will settle for 

nothing but the best, David 

Oscarson produces three 

exclusive pieces from each edition 

crafted in solid gold and 

pavéd with diamonds. These 

special-order pieces do not 

come cheap; they carry a price 

tag of $42,000. 

As beautiful as they are, 

Oscarson’s pens are more than 

just a work of art to be 

admired. “It breaks my 

heart to know that 

some of my pens are 

not being used,” says 

Oscarson. “All of my 

products come with 

a lifetime warranty; 

all I ask is that if a pen 

should break, the customer or 

authorized retailer will return 

it to me. I will repair or replace 

it at no cost.” 

In addition to fine writing 

instruments, the David 

Oscarson Collection includes 

cuff links, shirt studs and golf 

ball markers (all coordinating 

with the pens), jewelry and 

other luxury items, including 

photo frames, paper knives 

and even a contact lens case. 

✍ 

s t y lu s OCTOBEr/nOvEMBEr 2003 79

freehanding with … 

The Mighty Pen 

Bestselling author Tom Robbins philosophizes about handwriting 

B Y J O R D A N A . R O T H A C K E R 

80 OcTOBer/NOvemBer 2003 s t y lu s 

Within these pages we have found a place alongside celebrating fine writing instruments 

to celebrate the craftsmen and companies that have dedicated their lives 

and time to creating such beautiful and artful tools. Now we will go one step further 

and take the opportunity to concentrate on the men and women who employ these 

tools in their own personal art. 

Once upon a time, 

scribes used graphite 

or ink in the writing 

and copying of all manner 

of text or documents. It 

was a hard, tireless job, yet 

instrumental in the progress 

of civilization. In 1455 when 

Guttenburg printed his first 

Bible with his first press, many 

were relieved at the efficiency 

it provided, though it took 

many more centuries to put 

the scribes of the world totally 

out of business. In the twentieth 

century, the portable 

typewriter had gained popularity 

since its many forms in 

the nineteenth century and its 

perfection by Underwood in 

1895. Industrialized America 

of the early twentieth century 

was a fast-paced time, when 

the ubiquitous growth of 

technology had workers from 

all industries catching the 

buzz and trying to keep up to 

date. The portable typewriter 

became the must-have piece 

of equipment for journalists, 

academics, novelists and even 

poets. The advent of the word 

processor and personal computer 

in the 1980s furthered 

this reliance on technology for 

crafters of the written word, 

converting over many from 

their beloved typewriters and 

catching a whole new young 

generation hungry for the 

speed and ease of progress. 

Throughout this century, 

in the face of the tried-and- 

true typewriter and the alluringly 

efficient personal computer, 

there have been many 

courageous writers across the 

disciplines who have stayed

faithful to their first love in 

the medium of the written 

word. These noble literati continue 

to take pen or pencil 

in hand and manually make 

their mark on paper, creating 

new worlds and ideas in the 

spirit of the scribes that came 

before them. As we look at 

various writers of longhand, 

we will explore why an artist 

has chosen to practice his or 

her craft in such a way and, 

at the same time, learn which 

fine writing instruments they 

use and for what reasons. 

Featured Author: 

Tom Robbins 

It was only twenty-two years 

ago with the release of his 

first novel, Another Roadside 

Attraction, that Tom robbins 

sauntered cunningly onto the 

literary scene, instantly building 

a reputation as the master 

of metaphor and a writer of 

screwball prophetic tales. Now 

with seven novels to his credit, 

such as the No. 1 bestselling 

Still Life with Woodpecker and 

Even Cowgirls Get the Blues, 

which was directed in filmform 

by Gus van Zandt, he 

has given the world another 

work of literary fun, Villa 

Incognito. Hailed suitably by 

bookreporter.com as “a dizzying 

sandwich of characterization, 

philosophizing and 

digression,” this long-awaited 

eighth novel spent several 

weeks on the bestseller list 

since its release last April. In 

the wake of a whirlwind book 

tour, I was able to catch up 

with Tom robbins to ask him 

a few questions about his writ- 

ing methods and feelings on 

longhand composition. 

“There is no simple answer 

as to why I write longhand. I 

write very slowly and like to 

watch the ink soak into the 

wood pulp. I find it an organic 

process. my old friend Timothy 

you humility to see your mistakes.” 

Now a devotee to the longhand 

method, robbins equates 

the fate of longhand writing 

to the “fate of the planet itself,” 

and particularly rails against 

the negative effects email will 

“There is no simple answer as to why I write longhand. 

I write very slowly and like to watch the ink soak into the 

wood pulp. I find it an organic process.” 

Leary called me a wood-pulp 

junky,” he mused in very robbinsian 

fashion. “I believe ink 

to be the blood of language and 

paper to be the flesh.” 

Though his first two novels 

were written on a typewriter, 

it was while working on the 

third that he finally attained 

belief in the importance of 

longhand composition. A 

sample of his longhand can 

be seen in any copy of Still 

Life with Woodpecker, where 

the last few pages are written 

in his own handwriting. (robinson 

describes his handwriting 

as resembling “the nasty 

scrawls chalked on alley walls 

by mongolian monster boys.”) 

This personal handwriting 

he values as the mark of the 

individual. 

“I am someone for the 

individual, not conformity; 

in handwriting, the individual 

comes through,” he says taking 

an almost political stance. 

“Longhand makes you see 

your mistakes. On a computer 

things disappear; it gives 

freehanding with … 

have on the next generation’s 

spelling, grammar and nuance 

of handwriting. Though he 

believes that “the fate of the 

pen is in big trouble” he is optimistic 

enough to hope for a 

backlash against the computer. 

In the way of pens, robbins 

owns an antique Scheaffer 

made of green tortoise shell 

but prefers not to work in the 

fountain pen style. For his daily 

craft he uses ballpoints, either 

Flares or Stingers, one at a time 

until they run dry, and out of 

habit and ritual he kisses each 

spent pen in gratitude for its 

contribution before throwing 

it away. 

A true American storyteller 

in the comic philosopher 

tradition of mark Twain, Tom 

robbins is a joy to read and to 

ponder. His newest work, Villa 

Incognito, shows that he is still 

up to his old tricks and still a 

vital player on the literary stage. 

So with pen in hand and head 

in the clouds he continues to 

preserve an endangered tradition 

writing every day and for 

s t y lu s OcTOBer/NOvemBer 2003 81

Multi-Max

Tradition 

Steeped in 

Craftsmanship 

At the dAwn of the twentieth century 

most fountain pen manufacturers were small 

and their proprietors were artisans who gravitat- 

ed to the craft from former experience 

in tool making. Some were smithies 

and some refined their style and craft, 

becoming tradesmen and artists. 

Major cities like new York were home to hun- 

dreds of pen-smiths. In converted stalls, shops 

and factories, writing-instrument fabricators 

sprang forth. Craftsmen tooled and toiled, inno- 

vative shapes and styles emerged. 


As it is one thing to make a pen and clearly 

another to sell it, effective marketing campaigns 

soon commanded the lion’s share of orders and 

customers. here in the States, the big 

four emerged. waterman, Parker, wahl 

and Sheaffer became de rigueur. the 

conventional “old reliable” black hard 

rubber fountain pen was soon replaced by an 

ever-widening spectrum of colors, styling, sizes, 

shapes, overlays, filigrees and repoussé designs. 

Bedecked or bejeweled, fountain pens now 

were not simply the production of smithies 

in small stalls. American and European capitals 

became the marketing targets of companies able to outfit 

s t y lu s octoBEr/novEmBEr 2003 83

themselves with the requisite cadre 

of laboring workers, engineers, polishers, 

designers, marketing strategists 

and the ever necessary army of 

territory salesmen. 

It is easy to understand that product 

and model diversity became the 

key component of a pen maker’s success. 

Eyedropper fillers were replaced 

by coin, button, lever and then piston 

fillers. Black only was soon replaced 

by two, three, four, five and then 

six color offerings. Parker Duofolds 

competed heavily with Waterman 

Ideal’s, Sheaffer Lifetimes and Wahl 

tempoints. the flattops morphed to 

contours, balance pens emerged, the 

equipoise and then faceted “doric 

design” was born. 

Almost one hundred years later, 

Howard Levy, a quality-assurance 

professional and entrepreneur, with 

a devout love of fountain pens and 

the history of writing instruments 

simply decided he was ready to turn 

his passion into his daily routine. 

With this, the Bexley Pen company 

was born in 1993, in—you may have 

guessed—columbus, ohio. 

It’s one thing to love, collect and 

study fine writing instruments. It 

is entirely another matter to start a 

pen company. “my greatest accomplishment 

is the integration of my 

passion for pens with twenty-five 

years of experience in manufacturing 

organizations utilizing a multitude 

of technology,” says Levy. “I 

have been fortunate and able to 

draw upon a vast pool of knowledge 

to support the divergent tasks 

needed to assure the quality of an 

American-made fountain pen.” no 

small task, as Howard is handson 

and knee-deep in design, material 

sourcing, production planning, 

tooling, quality assurance, customer 

service, sales, marketing, accounting, 

and that’s usually what he does 

before lunch! 

Bexley’s design influence is principally 

the Golden Age of writing 

instruments (1920s thru the ’40s). 

84 octoBEr/novEmBEr 2003 s t y lu s 

Multi-Max 

Classique

Howard alone sources any component 

not made within the walls of 

his factory. Extremely methodical, 

at Bexley, form and function always 

meet. the metal trim work is offered 

in both white and yellow depending 

upon the body color. 

the yellow is electroplated 23karat 

gold and the white is rhodium 

to eliminate any concern of tarnish. 

It is my experience that each stand 

the tests of time very well. 

Bexley uses only nibs of the highest 

finish and appointment. the nibs 

are manufactured in Germany by 

Classique 

Peter Bock, GmbH, the world’s leading 

nib maker, serving the trade 

for more than eighty years. Using 

Bexley’s custom design, nibs are 

produced in 18-karat gold and are 

offered in fine, medium, broad and 

broad-stub widths. In your hand, 

it is easy to feel a magnificent flexibility 

and spontaneous reaction to 

the slightest torsion or the pressure 

you desire. Pen to paper, the Bexley 

nib becomes a personalized effortless 

extension of your hand. 

Body materials are cut from solid 

blocks of ebonite (hard rubber) or 

cast acrylic resins and readily take on 

the warmth and temperature of the 

writer. to accommodate the varied 

needs of both writers and travelers, 

Bexley fountain pens are equipped 

with converters for easy bottle filling 

of your favorite blend or brew, and 

all its pens accept standard international 

cartridges, permitting the user 

to select from the widest assortment 

of inks worldwide. 

From its first editions, reminiscent 

of the Golden Age, Bexley has 

produced a multitude of collections 

and limited editions, including the 


Americana

original, the Giant, the Deluxe, 

the Ebonite collection, the cabletwist, 

the Deco-Band, the Deco- 

Band Filigree (both yellow and white 

metal), the Israeli, the Equipoise 

and the Gold-Line. 

Bexley’s Current Editions 

the 10th Anniversary is a marvelous 

rendition of the equipoise design 

with a full in-hand balance and 

diameter. this pen fits the hand perfectly 

and is an absolutely untiring 

pleasure to use. true to form, a convertible 

model (which accepts roller, 

ballpoint, gel-point or soft-tip refills) 

is offered as an ideal complement 

to the fountain pen. the 10th 

Anniversary is currently available in 

two acrylic and two ebonite finishes. 

the Ebonite model is offered 

in orange, a smooth and colorful 

wood-grain as well as chocolate, a 

distinct feel of the late ’20s. If your 

tastes run to zesty colors and real 

punch, be sure to examine the resin 

acrylic Lemon, a rich pearlescent 

yellow with bold blues and pearl that 

swirl through the body. Likewise, the 

Lime contrasts both pearl and vast 

red tones within the radiant depth of 

a cool and pronounced green base. 

the Americana Edition is a tall, 

oversized, highly styled set with eight 

faceted sides and true to the Art 

Deco period in feel and luster. Both 

the fountain and convertible measure 

5.75 inches when closed and 

are carved from a solid block of luster-rich 

acrylic resin. Each boasts a 

faceted clip and pierce-cut cap band. 

the trim is a pronounced and seamless 

balance to the three splendid 

colors offered: rio Grande red, Sanibel 

Blue and Sierra Silver. Bold and 

strongly reactive to light, the series 

commands attention and is a real 

eye-grabber in hand or pocket. 

For those who multitask or truly 

enjoy versatility and flexibility, 

Bexley also offers both the multimax 

and mini-max collections, 

each inspired by “drop lead” pencils 

favored by artists, graphic designers, 

architects, sketchers and those who 

simply enjoy doodling. 

Unique and fun, both multi- and 

mini-max instruments have three 

writing modes: pencil lead, highlighter 

and custom ballpoint. the 

multi-max is equipped with 5.6mm 

Artists Series 


Mini-Max 

lead that is eleven times thicker than 

conventional pencils. the mini-max 

is outfitted with 3.2mm lead that 

provides six times the average pencil 

lay-down. 

Each multi- or mini-max comes 

with extra leads, colorful highlighter 

leads, a special sharpener for ease and 

convenience and the matching ballpoint 

refill. Simply push the actuator 

at the pen top to drop out or slip in 

the desired refill. All refills are available 

at authorized Bexley dealers. 

multi-max is available in Arctic 

Blue, Black, camouflage, cracked 

Ice, Jungle Green, orange Lightening, 

terracotta red and Yellow 

tiger Stripe, all with chrome trim. 

mini-max is available in Blue 

Pearl, red marble, Plum Pearl, Jade 

88 octoBEr/novEmBEr 2003 s t y lu s 

Green, red Pearl, cracked Ice and 

tiger Stripes, all with chrome trim. 

the Ebonite Woodgrain has goldtone 

trim. 

In addition to writing instruments, 

Bexley offers beautifully 

designed accessories as well as premium 

inks. Bexley’s leather three- 

and twelve-pen, hand-crafted premium 

leather carrying cases are 

produced in Germany. made to 

Bexley’s specifications, these cases 

are durable and well able to accommodate 

wide and large pens. 

Eight vibrant ink colors are available 

in 50-ml bottles. Bexley writing 

instruments are proudly produced 

in the United States and delivered 

with a lifetime warranty—always a 

nice touch. Bexley pens and prod- 

ucts are available at fine writing 

instrument dealers in twenty-two 

countries. 

the workdays are long and the 

travel is endless for Howard Levy, 

but you could never find a happier 

person. “After ten years of making 

pens, I really enjoy coming to work 

each day.” ✍

10th Anniversary

The Art of 

Maki-E 

B Y D A V I D E . U S H K O W 

The first time I saw a Namiki 

pen, I was immediately smitten. 

It was covered with a 

miniature cylindrical painting 

in gold and heavily lacquered. 

Enthralled, I was determined to 

learn more about the ancient 

art of Japanese lacquer, better 

known as maki-e. 

Maki-e literally means “sprinkled 

gold.” Unfortunately, the 

number of maki-e masters today 

has dwindled down to only a 

handful. In Japan’s Edo period 

(1603-1867) makie-shi, or decoration 

artisans, were plentiful. 

They made their living decorating 

everyday implements and furniture 

with beautiful designs, richly 

interpreting scenes of nature 

in precious metals and lavishly 

colored pigments. During the 

Meiji Restoration (1868-1912) 

much of what was manufactured 

was meant for export, resulting 

in the popularization of Oriental 

art in the West. The evolution of 

Art Deco is strongly influenced 

by Japanese art of that period, 

90 OCTObER/NOvEMbER 2003 s t y lu s 

m 

From 1970’s: 

Flying cranes 

majestically 

spreading their 

wings. 

as evidenced by the works of 

Cartier, Louis Comfort Tiffany 

and Toulouse Lautrec, as well as 

many others. 

Lacquer, or urushi in Japanese, 

is the sap of the rhus verniciflua 

tree, which is indigenous 

to Asia. Throughout spring and 

summer the bark of the tree is 

slashed to collect the sap. (The 

amount of sap collected from 

each tree is only 250 ml per year 

making urushi a very precious 

commodity.) It is then processed

to produce raw urushi, which is 

used for lacquer base prepara- 

tion; refined urushi is used for 

final coating and decoration. The 

b 

Red Emperor 

NOA-HANNA (butterfly) 

In 1992 

Pilot issued a 

number of their 

popular patterns 

with red 

urushi backgrounds 

rather 

than black. 

s t y lu s OCTObER/NOvEMbER 2003 91

Japanese have mastered lacquermaking 

to a degree unmatched 

by anyone else. 

A common lacquer technique 

is one in which metal particles, 

usually gold or silver, are sprinkled 

onto still damp lacquer to 

create an image or pattern. The 

lacquer and metal particles adhere 

to one another, and when it hardens, 

the two mediums together 

create a lustrous picture. This is 

the art of maki-e. 

For hundreds of years, 

European missionaries and East 

India Company traders in Japan 

commissioned maki-e furniture 


m 

2001 

HAPPINESS 

RADEN Note 

the amount of 

gold and 

abalone. 

and implements for Christian 

rituals and various other objects 

for personal use and trade. 

In the early 1900s, Ryosuke 

Namiki, a ship’s engineer, developed 

and patented a nonclogging 

drafting pen that could compete 

in the Western market. His first 

step was to develop a gold and 

iridium alloy nib. He purchased a 

small iridium mine on the island 

of Hokkaido, situated between 

Japan and Korea. In 1916 he 

became partners with Masao 

Wada and formed the Namiki 

Manufacturing Company. His 

first pens were made of ebonite, 

a vulcanized sulphur and rub- 

ber compound that had been 

used in britain and known there 

as vulcanite. The problem with 

ebonite, which is black, was that 

it faded to brown when exposed 

to sunlight, and it tended to 

scratch easily. 

In 1925, Namiki patented laccanite. 

by adding raw lacquer to 

the ebonite compound, it produced 

a glossy surface that would 

neither fade nor scratch easily. 

He was successful in Japan but 

couldn’t compete in the United 

States and Europe with such pen 

makers as Swan, Onoto, Parker 

and Waterman. He needed a 

gimmick.

Since he already had a lacquered 

pen, he realized if he 

applied the centuries old techniques 

of maki-e, he would have 

a truly unique product. Namiki 

consulted with Shisui Rokkaku, 

who was a professor of lacquer 

craft at the Tokyo Fine Arts 

School. With his advice, he hired 

two artists, Kohoh Lida and Shogo 

Iijima to make prototypes. 

With prototypes in hand, 

Namiki and Wada traveled 

throughout Europe and America 

to seek their fortune and peddle 

their wares. They met with the 

great luxury retailers of the day: 

Cartier, Asprey and Tiffany. The 

first pens ordered and delivered 

simply bore the name Namiki. 

by 1926, Namiki had offices 

in London, New York, Singapore 

and Shanghai. An Englishman, 

William Marshall, was hired to 

sell in Europe. They were so successful 

that they next hired a fulltime 

artisan, Gonroko Matsuda, 

already considered a master at 30 

years old. 

Alfred Dunhill of London 

(purveyor of fine men’s clothing 

and accessories, offering such 

brand names as Cartier, van Cleef 

& Arpels, Jaeger and Montblanc) 

loved these pens so much that, 

in 1930, he sent Clement Court 

to Japan to negotiate exclusive 

marketing rights to Namiki’s 

pens. (Dunhill scored exclusive 

rights in England, Europe and 

the United States.) A collection 

of pens marked “Dunhill Namiki 

Made in Japan” was the beginning 

of one of the most successful 

luxury product lines of 

all time and would become a 

treasure trove for thousands of 

collectors a hundred years later. 

For one to fully appreciate 

maki-e pens, it is important to 

understand the amount of work 

involved in each piece. 

Over the centuries, artisans 

learned to add and mix various 

pigments and metallic powders. 

They developed techniques 

resulting in three-dimensional 

effects, such as in texture and 

depth. by applying materials to 

wet surfaces, curing and then 

polishing them, they created 

masterful works of art. Maki-e 

pens are, in reality, cylindrical art 

forms. If you study these pens, 

you’d find they are not geometrically 

balanced; rather they are a 

single painting or scene with a 

beginning and end. 

Maki-e decorations of the 

past were made on wood. Three 

levels of craftsmanship were 

required: preparing the wood, 

priming the surface and finally 

the maki-e-shi work. because 

of the nature of lacconite, only 

the maki-e-shi work was needed 

for pens. Many layers of lacquer 

are applied to the pen base. Pens 

were produced in many versions, 

or grades, anywhere from 

a plain black finish to grade A, 

which incorporated many makie 

techniques. Many varieties of 

metallic powders and flakes are 

This is a very 

rare Vintage 

#50 (emperor 

size pen) depicting 

Thundergod 

fighting a Dragon. 

Many of these 

Super High 

Grade pens were 

made for Alfred 

Dunhill’s Wealthy 

friends before 

the war. 



This wonderful 

Pheasant and 

Chrysanthemums 

design is typical 

of the natural 

themes found on 

vintage flat-tops. 

The artist was 

Shogo, one of 

the original 

members of the 

Kokkokai. 

sprinkled onto wet lacquer. After 

each step, the surface is allowed 

to dry in a damp atmosphere 

until it hardens. The surface is 

then polished with chunks of 

charcoal. At various stages, pieces 

of gold foil, shells or stones 

are added. This provides many 

wonderful three-dimensional 

effects. 

There are dozens of techniques 

and applications possible. 

The most common categories 

are togidashi and takamakie. 

In togidashi, various pigments 

and powders are mixed together 

into a smooth paste and painted 

onto a stenciled design. When 

this has dried, it is covered with 

black lacquer. Once dry, it is polished 

again with charcoal until 

the picture resurfaces. 

With takamakie, the artisan 

creates multi-dimensional (high 

relief) surfaces. Layers of varying 

depths are built up on the under

This magnificent 

Pagoda is 

depicted on a 

vintage ladies’ 

pen. Note the 

large amounts 

of raden 

(imbedded abalone 

and pearl). 

The artist is 

Shogo. 

coating with clay powder or raw 

lacquer. A variety of shells, stones 

or gold flakes are then applied. 

Artists apply colored lacquer 

using cat hair as brushes to contrast 

with the design. After each 

process, drying and polishing are 

required. It is easy to understand 

why production of each pen is 

painfully tedious. Many months 

are needed to complete each piece. 

because large pens (with #50 

nibs) can take six months to a 

year to produce, practically all 

become limited editions. 

The way to admire, love and 

respect maki-e is to visit it frequently. 

Handle it often and 

become one with it. A kaleidoscope 

comes to mind, subtle differences 

of color and nuances of 

design will be revealed. This is 

the wonder of maki-e. 

Interested in learning more about 

Maki-E or Japanese Lacquers, visit 

www.pen-site.com ✍ 


By 

sAm fiorellA 

President, 

Pen Collectors 

of America 

I’d like to first thank the publisher 

of Stylus for his interest 

in the Pen Collectors of 

America and for granting us 

the opportunity to update pen 

aficionados the world over 

about our association. The 

PCA Board of Directors congratulates 

Stylus on its premiere 

issue and extends best 

wishes to all those involved for 

continued success with this 

new venture. 

The PCA is an international 

organization for collectors 

and admirers of writing 

instruments of all kinds. Our 

primary focus is on vintage 

writing equipment and our 

members are interested in all 

aspects of pens. We exist as 

a nonprofit organization to 

maintain the integrity of pen 

collecting and to encourage 

effective communications 

between collectors. 

The PCA publishes The 

PENnant, a journal devoted 

to pen collectors worldwide, 

three times each year. Each 

issue contains well-researched 

articles on vintage pens written 

by pen collectors who 

are experts in their field. Our 

most recent issue, published 

in August, included articles 

on fountain pens made 

in England and a survey of 

Art Nouveau and Art Deco 

writing instruments. Always 

featured are regular columns 

96 OCTOBEr/NOVEMBEr 2003 stylus 

Notes from the PCA 

on technical aspects of pens 

and pen restoration by wellknown 

experts Frank Dubiel 

and Victor Chen. 

The PCA maintains a table 

at most pen shows in the 

United States and we hope 

you’ll stop by and visit us to 

learn more about our organization. 

Or just stop by to say 

hello. We will be exhibiting at 

the upcoming San Francisco 

International Pen Show on 

October 18 and 19, at the 

Marriott Hotel, 1800 Bayshore 

Drive in San Francisco. 

We invite you to join us 

for our annual membership 

meeting and reception on 

November 7 at the Wyndham 

Dublin Hotel in Columbus, 

Ohio. This meeting will be 

held in conjunction with 

the Ohio Pen Show and will 

feature an exhibit of John 

Holland vintage pens from 

the private collection of Jack 

Leone. Stop by and partake 

of some wine, cheese and 

conversation with pen collectors 

from around the world. 

For those of you who are 

not already members of the 

PCA, we hope you’ll check us 

out. We’d be pleased to send 

you a membership brochure 

and complimentary copy of 

our award-winning magazine, 

The PENnant. 

Good collecting to all! 

If you’d like to learn more about 

the PCA, contact them at: 

Pen Collectors of America, 

Inc. 

P.O. Box 447 

Fort Madison, IA 52627-0447 

(319) 372-0881 

fax (319) 372-0882 

email: info@pencollectors.com 

Pen ColleCtors 

of AmeriCA BoArd of 

direCtors 

sam fiorella, President 

dan reppert, 

Vice-President 

Victor Chen, secretary 

Craig Bozorth 

l. michael fultz 

lisa Hanes 

Howard Kaplan 

saul Kitchener 

Jack leone


The Washington, 

D.C. Fountain Pen 

Supershow 2003 


Yes, friends, a summertime 

sojourn to 

the balmy climes of 

the nation’s capital area 

ripe with its art, museums, 

history and culture, is a 

perfect venue to meet and 

surround yourself with 

every conceivable writing 

related instrument. 

renowned collector 

and always gracious 

show host bob Johnson 

guided his eleventh annual 

Fountain Pen Supershow 

to record heights 

August 7 through 10 at 

the Sheraton Premiere in 

tysons corner, virgina. 

And this show is one for 

Vintage pen dealer Bernard Barston, of 

the books. collectors Fairfax, Virginia, specializes in vintage 

and aficionados of vin pens and watches. 

tage and modern writing 

instruments, accessories and 

ephemera were treated to an 

international feast of product, 

service and seminars. 

new attendance records 

were set for both travelers and 

local attendees. Hundreds of 

vintage collectors and dealers 

from the United States,

New pen dealer Jimmy Dolive, of 

Total Office Products, Smyrna, 

Georgia 

canada, england, Germany, 

France, Italy, the netherlands, 

croatia, South America and 

Australia gathered as usual to 

trade, buy, sell and socialize. 

Likewise, contemporary 

manufacturers sent executives 

to exhibit, display and demonstrate 

their latest releases. 

Among the particiapting 

manufacturers were Ancora, 

Aurora, bexley, conklin, 

conwayStewart, David oscarson, 

Delta and monteverde, 

Loiminchay, michel Perchin, 

newman, Platinum, Sailor 

and Signum. Sailor Pen also 

sent Yukio nagahara, its master 

nib designer from Japan, to 

greet attendees and customize 

Sailor nibs precisely to the 

hand … and all one had to do 

was ask. 

Inks of every color and flavor, 

papers from handmade 

cotton to elegant pads and 

journals, pen rests, racks, display 

cases and, of course, inkwells 

were available from a 

multitude of dealers. ✍ 

A substAntiAl cross 

section of “open” 

seminArs were offered: 

◆ david moak, author of the just-released mabie in America, a 

history and analysis of mabie-todd writing instruments (1843- 

1941), presented a history of both the company and the family. 

david’s book is published in cd format and includes hundreds 

of wonderfully photographed pens. 

◆ professor John mottishaw offered both assistance 

and knowledge in his talk on nib restoration along with an 

ample Q & A session. 

◆ dr. david isaacson offered digital photographic techniques 

and advise in photographing pens and writing instruments. 

◆ pen Haven’s own bert Heiserman presented yet another fine 

discourse and Q & A session on pen restoration. 

◆ barry Gabby offered a workshop and round-table discussion 

on designing a pen. 

◆ susan wirth hosted an old-fashioned, 

show and tell on nibs and 

nib favorites with global representation. 

◆ deb Kinney presented her 

four-hour course “fountain pens: 

practical elegance,” 

also available at duke university 

(evening schedule). 

with the gracious assistance of 

his attentive and helpful sister 

barbara, bob has once again produced 

an outstanding show. next 

Susan Wirth, of Milwaukee, 

Wisconsin, specializes in a 

vast variety of nib styles to 

assure “the right point for 

every hand.” She has people 

sit down and “test drive” 

with vintage “slightly used” 

and never used “old stock” 

pens until they find the pen 

point that’s the perfect fit. 

year’s supershow is August 12 through 15, 2004, in the same 

location. 


Accessories 

Alfred opened his first 

Dunhill Motorities shop in 

the summer of 1902 on London’s 

busy Conduit Street. His 

always ingenious and often 

outrageous line of accessories 

attracted a loyal and distinguished 

customer base that 

included the Duke of Windsor, 

Pablo Picasso, Rudolf Valentino 

and Elvis Presley. 

“My experience in the motorists 

trade has convinced me 

100 OCTObER/nOVEMbER 2003 s t y lu s 

A T r u e G e n T l e m A n ’ s 

An inside look at the complete line of Dunhill accessories 


Established by Alfred Dunhill in 1893 in London, the Dunhill brand quickly became 

known for its extensive line of exclusive gentlemen’s motoring accessories that were 

simultaneously stylish, reliable, functional and durable. 

that, if one can exactly meet the 

desires of a good class of public, 

time alone is necessary to 

make the business profitable,” 

Dunhill once said. 

Over the years, the Dunhill 

shop took on the air of a true 

gentleman’s club. As Mr. Dunhill 

expanded his business interests, 

he broadened his range 

of luxury goods to include 

sporting equipment and an 

“Avorities” line of pilot’s cloth- 

ing and accessories. 

As a young entrepreneur, 

Alfred Dunhill believed that 

everything “must be beautiful, 

it must be useful, it must 

work dependably and it must 

be the best of its kind.” Today, 

his passion for excellence is still 

at the heart of the company’s 

philosophy. 

Although Alfred died in 

1959, the brand he created continues 

to share his adventurous

spirit and his unique under- years, the company has enjoyed standing of luxury. For many 

Accessories 

A trio of Dunhill 

accessories: 

an original tin 

can lighter; the 

limited-edition 

sterling silver 

ballpoint pen 

equipped with a 

quartz timepiece; 

and a set of cuff 

links with the 

trademark 

Dunhill “d” 

s t y lu s OCTObER/nOVEMbER 2003 101

Accessories 

a worldwide 

reputation 

for its extensive range of 

high-quality luxury goods, a 

testament to its founder’s unyielding 

commitment to quality 

craftsmanship. 

The Dunhill collection of 

luxury accessories runs the 

gamut from fine timepieces 

and writing instruments to 


belts, cufflinks, lighters, 

leather goods and even 

games. 

Although we will delve deeper 

into Dunhill’s line of writing 

instruments in a future issue 

of Stylus, we will take a little 

time to touch on a few highlights. 

One particularly striking 

model is a limited-edition 

sterling silver faceted ballpoint 

pen equipped with a quartz 

timepiece. 

Other extraordinary exam- 

The Dunhill X-Centric 

and a sterling silver 

GMT pen 

ples are a carbon fiber AD2000 

Fountain Pen (also available as a 

ballpoint) and a platinum-plated 

Lines Gemline Fountain Pen 

(also available as a ballpoint). 

Dunhill unveiled the latest 

addition to its line of fine timepieces 

at this year’s Salon International 

de la Haute Horlogerie 

in Geneva. The bold X-Centric 

combines an unusual off-center 

dial design with a unique feat of 

horological engineering in the 

form of a winding and handsetting 

mechanism exclusive to 

the Dunhill brand. 

O t h e r p o p u l a r 

Dunhill timep 

i e c e s 

include 

the sporty 

RPM Tachymeter, 

the elegant Wafer and the 

racing-inspired d-Type. 

Stylish, high-quality belts 

also make up an important part 

of the Dunhill line of luxury accessories. 

From the black semimatte 

alligator-skin Cowboy 

belt with sterling silver buckle, 

to the canvas strap Safety belt 

with brushed palladium-plated 

buckle (available in black 

and khaki), to the Motorities 

Square ‘d’ soft cowhide belt 

in dark brown with contrast 

stitching and palladium-plated 

buckle, this extensive collection 

has something for everyone. 

Dunhill offers a wide variety 

of elegant cufflinks to acces

sorize today’s gentleman with a 

keen sense of style. The ‘d’ Stone 

in sterling silver is set with sapphires 

while the noughts and 

Crosses (or Tic Tac Toe) is 

crafted in sterling silver with 

onyx rings and 18-karat yellow 

gold crosses. The sterling silver 

Cricket ball or bulldog add a 

touch of fun to any wardrobe 

while the Wheel in ebony and 

sterling silver, and the sterling 

silver Gear Stick pay tribute to 

the company’s origins in the 

motorists’ trade. Additional 

cuff link options include the 

‘d’-Lock in African black wood 

and sterling silver, the Octagonal 

Facet in sterling silver and 

white mother-of-pearl, and the 

Shagreen Oval in sterling silver 

and black stingray (galuchat). 

For those who like to light 

up every once in a while, 

Dunhill produces a variety of 

high-quality lighters. From the 

unique Tin Can lighter to the 

silver-plated blue Pinstripe 

Lacquer Rollagas (also available 

in gold plated and as a mini 

Rollagas) to the original Sports 

lighter with red cricket calfskin 

cover, Dunhill provides lighters 

for every occasion. 

Dunhill’s famed leather 

goods collection is divided into 

four distinct lines. The Sidecar 

Collection features bitter-chocolate 

grained cowhide holdalls, 

computer cases and washbags, 

just to name a few. All the finishings 

are crafted from solid 

brass or are plated with polished 

or brushed nickel, and 

Accessories 

A variety of Dunhill cuff links 

with the signature “d” 


Accessories 

Dunhill cuff links and 

a Rollagas lighter 


the document cases are lined 

with royal blue alcantara. 

Dunhillion Cricket is a line 

of leather goods inspired by 

the original Dunhillion cricket 

ball. These distinctive products 

have been crafted from the 

softest vegetable-tanned ruby- 

red calfskin, and finished with 

the signature cream double 

stitch. 

The classic Club Collection 

includes such items as a Trifold 

Wallet (available with green or 

brown goatskin lining), a dice 

box, pen holder and travel case 

(also available with green or 

brown goatskin lining). 

Finally, the Dunhill Tradition 

Collection is a new line of 

luxury leather entirely handmade 

from English leather 

and constructed by master 

craftsmen in Dunhill’s London 

workshop. 

Dunhill has created a line 

of games to bring out the inner 

child in all of us. For those 

Saturday nights when you find 

yourself with nothing to do, 

look no further than Dunhill’s 

collection of Rolling Dice, 

noughts & Crosses (Tic Tac

Toe), backgammon, bridge and 

even Monopoly. ✍ 

A piece from Dunhill’s leather goods 

collection; Dunhill’s signature rolling 

dice and a carbon-fiber writing 

instrument 

Accessories 


A Penthouse 

For Your Pens 

Elegant pen boxes from Osvaldo Agresti 


106 october/november 2003 s t y lu s

Only true pen aficiOnadOs really understand that luxury writing instruments 

do more than just write. they know that their beloved pens are to be protected, 

cared for and even put on display for the whole world to see. 

osvaldo Agresti allows fine 

pen owners to do just that 

with its elegant, handmade 

pen boxes. 

Founded in 1949 in the 

heart of Florence, Italy, the 

Agresti brand aims to respect 

the artistic tradition of the historic 

city with its high-quality 

products, which, in addition to 

pen boxes, include ladies’ and 

men’s jewelry boxes, humidors, 

games, watch cases and 

stationery items. the Agresti 

factory, located in Scandicci, 

Italy, just outside of the downtown 

area, operates with some 

of the most advanced technol- 

ogies available and performs 

all stages of production, from 

raw materials to the finished 

product. 

every Agresti product is 

handcrafted from exotic and 

domestic woods in a variety 

of finishes, from natural 

to very high polish. Finding 

these rare resources, coupled 

with selecting only the best 

quality, makes Agresti wood 

products quite unique and 

beautiful. All Agresti woods 

are manufactured to the 

company’s uncompromising 

quality standards. 

In order to meet these standards, 

the production process 

is rather long and involved. 

Agresti veneers are glued to 

a twelve-layer poplar panel, 

laminated in opposite directions 

to prevent warping. the 

panels are then sanded, the 

holes filled with stucco and 

then sprayed twice. 

After cutting and modeling 

each style, the whole process 

of sanding, filling and 

spraying is repeated two more 

times. At this point, the item 

is now ready for the delicate 

final finishing process. 

Agresti factory in 

Florence, Italy 


Whether just starting 

out or a collector for years, 

Agresti has the pen box 

for any size collection. 


crafted in the durable yet 

elegant elm briar wood, all 

Agresti pen boxes feature a 

glass exhibition panel so that 

one can view the coveted writing 

instruments within. 

Perfect for the beginning 

collector, the geometricallyshaped 

ref. 460 case holds 

five pens and is priced at 

$175. Somewhat larger is ref. 

4678, which boasts a slightly 

curved case shape. retailing 

for $375, ref. 4678 stores up 

to twenty pens—ten in the 

top compartment beneath 

the glass and ten more pens 

in the bottom drawer. 

next in line is ref. 4908, 

which holds no less than forty 

pens, divided between the 

exhibition compartment on

top and four additional drawers 

below. Suggested retail is 

$399. 

the largest of the Agresti 

pen chests, ref. 4708 ($625), 

comfortably accommodates 

an impressive sixty pens, with 

space for ten pens under the 

glass and room for fifty more 

in six lockable drawers for 

added protection. 

“Agresti pen boxes are a 

great way for writing instrument 

enthusiasts to showcase 

their collection,” says David 

Dinoffer, president of Dinoffer 

enterprises of rye, new York, 

the exclusive U.S. distributor 

for the entire Agresti collection 

for the past eleven years. 

“While pen boxes comprise 

only about 5 percent of the 

Agresti line, they account for 

at least 10 percent of all sales 

here in the United States.” 

the Agresti collection is 

available at select fine retailers 

throughout the country, 

including Fahrney’s Pens in 

Washington D.c. ✍ 


Lancet T10-P 

(locking liner); 

mother-of-pearl 

handle; 

2.625-inch blade 

length; 

6-inch overall 

length 

Precise Vision 

The art of knifemaking, as practiced in the William Henry studio 

B Y U R S Z U L A W I L C Z Y N S K A 

Founded in 1997 by Matthew William Conable and Michael Henry Honack, in Santa 

Cruz, California, William Henry Knives ensures the exceptional function of each 

knife by employing state of the art materials to build a tool at the leading edge of 

performance. The cofounders vision, which remains unchanged today, was to build a 

studio that was committed to producing the finest folding knives possible. Over the last 

five years, 

that vision has been realized 

in a 2,800-square- foot facility 

that employs fourteen 

expert craftspeople to produce 

a range of products that are 

widely considered the world’s 

110 OCTOber/NOveMber 2003 s t y lu s 

best quality folding knives. 

William Henry starts with 

a quality standard, and every 

aspect of their production 

system is geared only toward 

maximum efficiency at that 

standard. Components are 

made using state of the art 

technology like lasers, waterjet, 

CNC machining, and 

precision lathe work. These 

technologies allow for extreme 

precision, down to about 1/10 

of a human hair. This precision 

creates the framework for the 

exacting finish work and final 

look and feel of each William 

Henry knife, completely hand 

finished in the studio by Matt 

and his crew. 

In the studio, each knife is 

hand assembled from components 

and taken through over 

225 individual steps to create 

the seamless finish, elegant 

polish, soft feel in the hand, 

and smooth action that have 

become William Henry signature 

marks. Sanding, buffing, 

hand texturing, and a myriad 

of other serves first and last as 

a companion tool, but always 

as a piece of art. William Henry 

Knives ensures the exceptional 

function of each knife 

by employing state of the art 

materials to built a tool at the 

leading edge of performance.

virtually all frames are built 

from aerospace-grade titanium 

alloy, and the blades are crafted 

from the very finest high-carbon 

stainless micro-screw and 

Teflon bushings for precise 

action, tension control and easy 

disassembly and adjustment. 

William Henry Knives’ 

work in finely crafted gentlemen’s 

knives has set new 

standards in the design and 

production of folding cutlery. 

Classic Gents series seamlessly 

integrate state of the art 

technology and mechanism 

with elegant styling and classic 

organic materials to create 

knives that evoke the past 

while leading the way into the 

future. All knives from these 

series use titanium as a base 

frame for strength, durability, 

and lightweight comfort. 

The handle scales are crafted 

from the finest natural materials. 

The mother-of-pearl 

is hand selected and beautifully 

polished to reveal the 

extraordinary range of color 

in each piece. The amber jig 

bone (made from cow bone) 

is delicately finished to reveal 

an astonishing combination 

of color and texture. Like the 

mother-of-pearl, the desert 

ironwood is hand-selected for 

figure and pattern matched 

for each knife. The 154-CM 

stainless steel blades are handhoned 

to a razor edge, and 

travel on Teflon bushings for 

smooth action and minimal 

wear. each knife is constructed 

with stainless screws and fittings 

which are permanently 

thread-locked at optimum 

tension during final assembly. 

The series combines all the 

elements in a family of fine 

knives that find a perfect balance 

between form and function. 

They are made for daily 

use and are worthy of the most 

discriminating collection. 

Matthew Conable, president 

of William Henry Knives, 

has searched the world over to 

bring exceptional techniques 

in jewelry, knifemaking and 

adornment to carry in the 

William Henry product line. 

The final polish of each blade 

is done by hand by a master 

bladesmith in Japan, the fine 

Koftgari gold inlay is done by 

master craftsmen in bali. The 

remarkable Damascus blades 

are made from billets that 

are hand-forged by a mastersmith 

in North Carolina. 

Carbon fiber parts are sourced 

from the finest materials and 

machined to exacting standards 

by a shop that specializes 

in carbon fiber; the same 

is true of William Henry’s titanium 

parts. An average knife 

from the William Henry studio 

involves fourteen separate 

shops in four states and three 

countries. From conception to 

completion, a finished knife 

takes between six and eight 

months. 

The award-winning Ultra 

Light Carbon illustrates the 

remarkable possibilities that 

state-of-the-art materials and 

technology offer in the design, 

construction and durability of 

folding knives today. Weighing 

in between 0.8 ounces and 

1.6 ounces, these knives redefine 

the “ultra-light” category 

without sacrificing strength 

Spearpoint T12- 

CF (locking liner); 

3.25-inch blade 

length: 

7.125-inch 

overall length; 

carbon-fiber 

handle 

s t y lu s OCTOber/NOveMber 2003 111

A completely 

adorned 

gentlman’s knife 

or utility. 

The handles are crafted 

from solid carbon fiber, one 

of the strongest and lightest 

materials in the world. 

beautifully rounded and satin 

finished by hand, each knife 

is constructed with Teflon 

bushings for smooth action 

and stainless Torx fitting 

for strength. The blades are 

crafted from ATS-34 stainless 

Damascus, with options 

for durable black Tungsten 

Carbide and 24-karat gold 

coatings to upgrade the dramatic 

impact of the piece 

without compromising performance 

in any way. every 

knife from this collection is 

designed and built to be a 

companion tool—the combinations 

of materials and 

features make them a perfect 

accessory in everything from 

work jeans to a dress shirt. 

Says Matt Conable: “Someone 

gave me a piece of carbon 

fiber to play with in 1998. The 

quality and strength of the 

material got my attention, and 

112 OCTOber/NOveMber 2003 s t y lu s 

I designed a knife architecture 

that played to the merits of 

the material. The simple, slim 

construction of these knives is 

a result of that process. The 

carbon fiber is so strong that it 

needs no support. A new level 

of performance without weight 

is an essential aspect of all my 

work and every new design”. 

Matt begins each design 

with a simple drawing, and 

then translates the drawing 

into digital files that are used 

to communicate with each of 

the vendors involved in the 

production process. 

The art of knifemaking, 

as practiced in the William 

Henry studio, is the unrelenting 

pursuit of aesthetic 

elegance—where form meets 

function. The precise fit, finish 

and feel of each William 

Henry knife is a testament to 

the attention to detail that 

each step of the process requires 

and demands. 

The William Henry Knives 

company creates a wide range 

of pocket knives, from sim- 

ple carbon fiber ultra-light 

knives to completely adorned 

gentlemen’s folders worthy of 

the most discerning collectors. 

As a designer, Matt works 

to ensure that every William 

Henry knife is an optimal 

companion tool. No adornment 

is used if it will not stand 

up to daily use; no blade steel 

is used for aesthetics over performance, 

and materials like 

titanium help reduce weight 

without reducing strength. 

At William Henry Knives 

they are building on the 

American tradition of excellence 

in cutlery. Their unique 

combination of fine craftsmanship 

and state of the art 

technology allows them to 

create knives that are in a class 

by themselves. The exacting 

standards they demand, from 

the finest material to precision 

components to their expert 

finish work and detailing, 

ensure that each knife they 

produce will stand the test of 

time as both a companion tool 

and fine piece of art. A vision 

between two partners whose 

passion was for fine knives 

and the perfect marriage 

between from and function; 

a company whose products 

offer discriminating buyers 

and collectors the opportunity 

to own a unique tool and 

art piece of the highest caliber. 

It invites you to use and enjoy 

the rare creations they offer in 

their latest collection. ✍

Fine Writing - Stylus Magazine

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