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The Long Way Back: The Farthest Flight of the Pacific Clipper

 

Imagine this – It’s December! You’ve booked yourself an international flight to the Far East to enjoy a balmy, sandy Christmas in the sun! You board the plane and take off across the Pacific headed for Southeast Asia, and settle in for several hours of relaxation, conversation and sightseeing over the ocean.

Before you’ve even reached your destination – your entire world is turned upside-down! Reports come in over the radio that suddenly, the whole world is at war! You can’t fly back, you can’t go on ahead, you have no idea where the plane is even going to land, and you could be shot down at any minute!

This is the terrifying tale of the Pacific Clipper, one of the long-haul luxury passenger seaplanes operated by Pan-American Airways in the 1930s and 40s, and the record-breaking flight that it took around the world in December, 1941, as the South Pacific exploded into war beneath its wings.

What Was the Pacific Clipper?

Introduced in 1938, the Boeing 314 Clipper was, in the late 1930s, the most modern of commercial, long-haul passenger aircraft being sold around the world at the time. Only twelve were ever constructed. Nine went to Pan-American Airways, and the remaining three went to BOAC – the British Overseas Airways Corporation.

The Boeing 314 was a large aircraft for the day, but even it wasn’t able to cover the entire width of the Pacific Ocean in a single, uninterrupted flight. Instead, the accepted practice of the day was to “island-hop” around the world, providing long-distance travel to the paying public by flying from one airbase to another, completing long-haul flights in stages. It wasn’t fast, and it wasn’t exactly glamorous, and it certainly wasn’t cheap!…But it beat the hell out of trying to cover the same distance by ocean liner!

PAA’s ‘California Clipper’ in 1940

The Pan-Am clippers came with most of the stuff that modern aircraft come with: Lavatories, seats that could convert to lie-flat beds, delicious food, and full steward service! However, they differed in many other ways:

First – journey-times were much longer. From California to Hawaii took up to 19 hours! Second – Passenger-volumes were much-reduced – The average pre-war Pan-Am clipper barely carried more than 70 passengers. Third – the Pan-Am clippers were all seaplanes, or “flying boats” – they had no landing-gear – instead, the planes took off and landed on flat bodies of water – large rivers, lakes, or along the coastline during calm weather.

Last but not least – tickets were expensive! A one-way flight from California to Hong Kong was $760 – around $14,000USD in modern prices!

Piloting a Pan-Am clipper was very different from flying a modern aircraft. Because the planes could only take off and land on water, pilots had to be extremely skilled, not only in flying, landing, taxiing and take-off – but they also had to know a lot more about weather, sea-conditions, how to spot a safe stretch of water, and how to read the windspeeds and directions accurately enough to know when, where and how to make a safe water-landing! These days, most pilots hope to only make one water-landing in their entire lives, if they ever have to – but for Pan-Am clipper pilots, it was literally a daily occurrence!

In an age when long-haul passenger-flights were limited and the industry was only, quite literally, getting off the ground – flying was far more dangerous than it is today. Engine-failures and emergency-landings happened much more frequently, and a full-service crew flew with the aircraft at all times to tackle all kinds of mechanical incidents that could happen during flight. The crew of the Boeing 314 Flying Boat was 11 in number: The captain, first officer, second officer, third officer, fourth officer, two flight-engineers, two radio-operators, the purser, and his assistant.

It was one of these fantastical flying machines – a Boeing 314 – which came to be known as the ‘Pacific Clipper’.

Pan-American Airways named all its early aircraft, just like how steamship-lines at the time named all their ships. And just like how shipping lines followed naming conventions (Cunard named all ships “-ia” – Carpathia, Lusitania, Muretania, Berengaria, etc, and White Star named all their ships “-ic” – Titanic, Olympic, Atlantic, etc), Pan-Am also followed similar conventions: All their aircraft were called “clippers”, a reference to clipper sailing ships, which were famed for their speed. The names were typically related to the plane’s assigned route.

There was the Atlantic Clipper, the China Clipper, the Caribbean Clipper, the Honolulu Clipper…and the subject of this posting: The Pacific Clipper.

The Farthest Flight of the Pacific Clipper

It is December 2nd, 1941. Off the coast of sunny San Francisco, the Pacific Clipper is preparing for a routine flight across the Pacific towards Auckland, New Zealand. There are twenty-three people on board: Twelve passengers, and eleven crew. The pilot is Capt. Robert Ford, a Pan-Am veteran, well-used to the rigors of long-haul passenger-aircraft flights.

With a range of 5,000 miles, the Pacific Clipper was never able to make the flight from California to New Zealand nonstop, and it was accepted that the plane would land several times during the trip to drop off and collect mail, passengers, food, drinks, trash, and most importantly – fuel! When Captain Ford fired up the engines and took to the skies, nobody on board could’ve imagined what lay ahead.

Pre-war Honolulu in the 1930s

The aircraft’s first stop was San Pedro, California, then out across the ocean. It landed in Honolulu, Hawaii, then Kanton Island near Kiribati, then Fiji, and then finally, New Caledonia. In the preceding days, it had covered over 6,000 miles! The final leg of the journey was still ahead: Auckland, a mere 1,200 miles away – well within the limits of the Pacific Clipper’s operational range.

As the plane took off from New Caledonia and flew southeast towards Auckland, wireless operator John Poindexter was relaxing at his station, his headphones strapped onto his head as the aircraft hummed around him. Right now, he was probably thinking about his wife – the same wife that he had advised, he would be home early for – and to keep dinner for him on the kitchen table.

That was before one of the two radio-operators on the flight pulled out sick, and Poindexter stepped in to replace him. Had he known what was about to happen, Poindexter would’ve told his wife not to bother about dinner, because he was going to be home late.

Very late.

Halfway through their current leg, the radio suddenly crackled to life, and Poindexter scribbled down a message in Morse Code. Ripping it off his pad, he hurried to tell the rest of the crew what had just come in over the airwaves.

It was December 7th, 1941. A date which would live in infamy. Poindexter had just found out about the Japanese aerial attack on Pearl Harbor in Hawaii.

As the pilot, his co-pilot, the stewards, navigator, flight engineers and radio-operators all looked at the message, they suddenly realised what a horrible position they were all in!

While they could safely make it to New Zealand, offload their passengers, cargo and mail, refuel and take-off again – it was immediately obvious that there was no way that they could ever go home…or at least…not in the conventional way.

Under normal circumstances, the plane would’ve flown northeast towards Hawaii, where it would land, refuel, and then continue on back to the mainland United States. With Japanese aircraft, warships and aircraft carriers between the South Pacific and Hawaii, however, such a route was impossible – an aircraft bearing American markings would almost certainly be shot out of the sky if it was discovered by Japanese surface vessels.

With Hawaii on high alert, landing and refueling there, even if they managed to evade the Japanese, would be next to impossible. Unable to make the journey back to California without at least one stopover, getting back home seemed impossible!

Landing in New Zealand

The first leg of this epic adventure was relatively easy – landing. Two hours after receiving the world-changing news that the naval base at Pearl Harbor had been blasted by the Japanese, Captain Ford and his crew executed a landing off the coast of New Zealand, taxiing up to Auckland and tying off. Passengers and cargo were offloaded and the plane was prepared for…well…they weren’t exactly sure what for…but they wanted to be prepared at the very least!

Unsure of what else to do, the crew made their way to the American Embassy in Auckland. Here, they managed to contact Pan-American Airways Headquarters…in New York…and waited for further instructions.

With facilities in Hawaii put out of action, the harbor inoperable and any aircraft-fuel being needed for military aircraft, flying back to California was all but impossible.

In the week that it took for headquarters to make up its mind on the crew’s next move, the Pacific was erupting into war around them. The Philippine Clipper at Wake Island had managed to evacuate all Pan-Am employees and a lucky few civilians, taking to the air as Japanese forces rolled in, riddling the aircraft with gunfire as it fought to get out of range. In Hong Kong, another Pan-Am flying boat had been blown up at its dock before it even had a chance to leave.

Knowing that time was running out and that their options were dwindling rapidly, it was eight days before Captain Ford and his crew found out what they were expected to do.

Finally, on the 15th of December, a cypher-telegram was dispatched from New York to the U.S. Embassy, Auckland, New Zealand. It instructed Captain Ford to strip the Pacific Clipper of all identifying marks, fuel-up, and to get home by whatever means were necessary. During the trip, radio silence was to be observed at all times, to prevent the aircraft from being detected by the Japanese, and to land in New York when it arrived back in American waters.

When he found out what he was expected to do, Captain Ford probably thought that it would’ve been better if he’d kept his mouth shut! There was no way the aircraft could fly that far without stopping several times for fuel. There was no way that they’d have enough food, equipment or supplies to last that long! They didn’t even have any money, and because Captain Ford only flew the Pacific routes – he had no maps or navigational charts to guide him across Eurasia, Africa, or the Atlantic Ocean! They were entirely on their own, with orders to make it home by any means necessary.

After refueling the aircraft, Ford and his passengers and crew took off once more, to an uncertain fate.

It was the 16th of December when they left New Zealand, and their first stop was one of their previous legs – New Caledonia. Here, Ford had been ordered to land, refuel, and take on evacuees – the staff of the Pan-Am facility that operated out of the New Caledonian capital – Noumea. Fearing that the island could be captured by the Japanese at any minute, Ford told the Pan-Am staff that they had exactly one hour to grab whatever they could, and flee. This wouldn’t be easy – each passenger was only allowed one bag each!

While the Pan-Am staff scrambled to pack their bags and secure their essentials, the plane was refueled. With everybody safely aboard, the plane took off once more, this time flying west.

The only other major landmass in the region that had not yet been taken by the Japanese was the Commonwealth of Australia – the Pacific Clipper’s next stop. It landed off the Queensland coast near the town of Gladstone, where once again – it started to refuel. While the ground-staff prepared the clipper for its next leg, the crew offloaded the Pan-Am employees from Noumea, judging Australia to be far enough away from Japanese aggression to be a safe evacuation-point.

While this was going on, Ford had to tackle another issue that hadn’t been an issue before last week!…money!

With each flight, the crew was provided with enough funds to cover their expenditures – food, fuel, and any necessary repairs – from California to New Zealand…but Pan-Am in New York had not been able to send them any extra funds for their long-haul flight around the world!

Wondering what to do, Captain Ford was suddenly approached by a young man, who identified himself as a local banker. The aircraft had enough food and fuel to last the trip – but what about money?

“We’re broke!” Ford recalled saying, and explained how they had only been given enough funds to support them there and back – not for halfway around the world!

“I’ll probably be shot for this”, the banker replied, but he went to his local branch, unlocked the vault in the back, and returned with $500 cash-money – American dollars! A not-inconsiderable sum in 1941!

Accepting the cash without another word, Ford handed it to Rod Brown, the aircraft’s navigator – the only person on board with access to the plane’s strongbox. The funds were deposited, and the aircraft prepared to take flight again.

Darwin in the 1930s. A sight like this would’ve been very similar to what the crew of the Pacific Clipper would’ve seen when they landed in the harbour on the 17th of December, 1941

The Pacific Clipper continued its journey westwards, flying across the Australian interior. Being a seaplane, the Pacific Clipper could only take off or land on water – and Australia being one of the driest countries on earth – there ain’t much water around! Certainly not enough to land a commercial aircraft in!

The afternoon of the 17th saw the Pacific Clipper landing in Darwin, the capital of Australia’s Northern Territory. The weather was atrocious and the plane came down in the midst of a tropical thunderstorm. Although it was the capital of the Northern Territory, Darwin was hardly a bustling metropolis! The crew were stunned to discover just how small Darwin was – little more than a large, country town. Even in 2020, Darwin’s population is still barely 150,000 people!

Darwin in the 1930s.

Despite this, Darwin was still an important military base, with an airfield, army-base, aircraft facilities, and a naval base in the deep-water harbour nearby. Darwin was such an army town that the crew found that their refreshment station was actually the local brothel!

While in Darwin, Captain Ford and his navigator, Rod Brown, had to decide what on earth they were going to do next. Australia was likely to be the last friendly nation that they would be able to land in, before they had to strike out on their own and try and make it home across the rest of the world. There would be no way to know where they could land, find fuel, repair the engines if they malfunctioned, could receive medical care, or even communicate with Pan-Am headquarters in New York, if they had to!

Leaving Australia…

After freshening up, the crew had to refuel the aircraft…again. 5,000 gallons of aircraft fuel had to be poured into the tanks before they could take off – not with pumps or hoses or anything as sophisticated as that!…Oh no.

It had to be done by hand.

1,000 5gal. jerry-cans of fuel had to be literally manhandled up the side of the aircraft and poured into the tanks over the wings, passed down, refilled, and then passed back up again! All this in the raging North-Australian heat! It was past midnight before the job was done, and the crew were exhausted! They allowed themselves a few hours’ sleep, and then took off again the moment it was light.

Lifting off from Darwin on the morning of the 18th, Captain Ford and his crew flew north to Surabaya in Java, then part of the Dutch East Indies.

Desperate to hold the island by any means necessary, British and Dutch forces were understandably on-edge when they saw an unidentified aircraft entering Javan airspace. Unable to make radio-contact, the Pacific Clipper was almost taken out by friendly fire! When it finally was allowed to land – the local authorities refused to give them any aircraft fuel! They insisted that their limited stock was for military uses only – but – they didn’t want to be seen as being unsympathetic – there was a war on, after all!…and they graciously informed Captain Ford that he was welcome to help himself to as much gasoline as he could load onto the aircraft! It’s not like anybody was going for a relaxing, Sunday drive right now, so there was more than enough petrol to spare! Even enough to fuel a commercial airliner!

The lower-quality automobile fuel had never been used in an airplane before, and Ford was skeptical about whether it would even operate properly at high altitudes! But he had no choice – it was either take the lower-grade fuel – or run out of fuel entirely, and crash in the ocean!

Erring on the side of caution, Ford ordered his flight engineers to siphon the remaining aircraft fuel into one tank, and fill the other tanks with the lower-grade gasoline. The plane would take off using aircraft fuel, but would carry out the next leg of its journey using the automobile fuel.

Once the plane was airborne, Ford switched the feed-valves on the tanks, shutting off the aviation fuel and switching on the pumps for the lower-grade petrol – the engines gurgled and spluttered and smoke started pumping out, but once they’d gotten over the initial shock of the change in their diet – they started firing once more.

Chasing the Sunset

Determined to put as much space between himself and the Japanese as possible, Captain Ford steered the Pacific Clipper westwards, and out across the Indian Ocean, and over waters which were, quite literally – uncharted! With no detailed maps, Ford, his navigator, co-pilot and the aircraft’s stewards were basically flying blind, only having the vaguest idea of where they were going. Navigator Brown had no navigational documents for this part of the world, and warned Ford that all they had to go on were rough bearings.

Ford decided that their next logical destination had to be a colony of the British Empire – somewhere that the Pacific Clipper would stand a greater chance of a friendly reception. To that end, the plane attempted to find the island of Ceylon – today – Sri Lanka – off the Indian coast.

Had they been traveling by sea, this would’ve been called an “all-red route” – a sea voyage which stopped only in “red” parts of the map – red being the colour of the British Empire. As they flew on, the crew of the Pacific Clipper encountered heavy cloud-cover. Unable to determine his position, Ford dropped the plane below the clouds to get his bearings – a decision he would immediately regret!

As he broke cloud-cover, Ford got the shock of his life when a Japanese submarine appeared below! The Japanese started manning their deck-guns and began firing at the Pacific Clipper and Ford had to quickly manipulate the controls to bring the aircraft back up into the clouds!

Sustaining no damage from the Japanese attack, the Pacific Clipper finally landed in Ceylon and the crew were welcomed by the local British military garrison, where they were invited to a meeting to give them whatever intelligence they could regarding the current state of the South Pacific.

After the aircraft had been refueled, it took off once more. It was now the 24th of December – Christmas Eve, and Captain Ford was about to get a very nasty Christmas present! They had barely flown more than a handful of miles when an explosion in one of the starboard engines made everybody jump! Peering out the window, Ford and his co-pilot were stunned to see smoke and oil gurgling from the #3 engine! Ford shut the engine down and spun the plane around back to Ceylon!

When they landed, Ford pulled the engine coverings off and discovered that one of the 18 cylinders had ruptured and worked itself loose from its mounting, causing the oil to leak out. Repairing the loosened mounting was not difficult…but it did take a long time, and it was Boxing Day before the plane could take off again.

Deciding to stick with their “British-Empire” strategy, Ford and his crew headed for Karachi, then part of British India (today part of Pakistan), and from there to the Kingdom of Bahrain, at the time, a British protectorate.

So far, so good.

Arriving in Bahrain, the crew once again made contact with the British military authorities stationed there, explained their situation, and their onward plans. Captain Ford was warned to avoid flying over Saudi-Arabia if at all possible, due to the potentially hostile reception he might receive – more than a few British aircraft had been shot down over Arabian airspace, and while the Pacific Clipper had, by this time, been stripped of all its identifying marks to avoid enemy attention, there was still a good chance that an unmarked, un-identifiable aircraft might still be targeted by hostile forces.

The Pacific Clipper in flight

Captain Ford provisioned and refueled his plane, and they took off again. With fuel a precious commodity, Ford wasn’t in any position to take a ‘scenic route’ back to America, and so, ended up flying across Saudi-Arabia anyway! To protect against gunfire, the clipper remained in the clouds for the majority of the leg, only dipping down to check their bearings every few miles. They’d been in the air about 20 minutes when Ford took the plane down to check their progress. The crew got the shock of their lives when they realised that they were flying right across central Mecca! Fortunately, anti-aircraft installations did not exist in Mecca, and the Pacific Clipper flew on, unmolested.

The aircraft’s next stop was Khartoum, the capital of the Sudan. Landing on the famous River Nile, Captain Ford and his crew were greeted by representatives of the British Royal Air Force, who helped them refuel the Pacific Clipper, provision it for the next leg of its epic journey, and wished them godspeed.

Exactly where to go next was a bit of a challenge. Flying to Europe was dangerous at best, unwise at worst. While they could probably head to somewhere like Gibraltar, Ford feared that the clipper’s engines, already taxed to breaking-point, would not survive the heat of the Sahara Desert – a forced landing there would be a death-sentence to everybody! This also meant that places like Casablanca, Spain or Portugal were out of range.

Instead, the crew decided to fly to Leopoldville in the Belgian Congo – it would at least be further west, and would take them one step closer to home.

Landing on the river near Leopoldville, the plane was tied up at a jetty and the crew disembarked for their next rest-stop. Upon their arrival in town, they received the shock of their lives! Two Pan-Am employees – an airport manager, and a radio-operator – greeted them! Relieved to see colleagues again, the crew relaxed, had a meal, exchanged news…and thanks to the two Leopoldville employees – enjoyed something that none of the Pacific Clipper crew had had, probably since leaving Australia – a nice, cold beer!

The crew rested in Leopoldville overnight while they planned the next leg of their journey. They also refueled the aircraft and prepared it for the next day’s flying – in fact, they prepared it so well, that come dawn, the plane was almost too heavy to take off! With tanks full of fuel and oil, cargo and crew, and with the soggy, humid air of the equator all around them, the Pacific Clipper narrowly avoided plunging off the edge of a waterfall as it lurched ungainly into the air once more!

The Atlantic Crossing

The next leg was one of the most dangerous – flying across the Atlantic to South America – a journey that took them nearly all day and night! When they finally landed in Natal on the Brazilian coastline, port authorities insisted that the aircraft – by then looking very battered, worn-out and worse-for-wear, due to it serving as the home for the ten crew-members for the past month – had to be fumigated for mosquitoes, which could carry deadly yellow fever. The crew disembarked the plane and started planning the next part of their journey while a team of fumigators boarded the aircraft and got to work.

And boy, did they ever! When Captain Ford and his colleagues returned, the ‘fumigators’ had robbed them blind! Anything that wasn’t nailed down had been stripped off the aircraft! All their personal papers, most of their charts, maps, travel-documents, company papers, and most of their money had been stolen!…a fact they only discovered once they had already left Brazilian airspace!

Finally back in the Americas and in familiar skies once more, Captain Ford flew towards the Port of Spain, the capital of Trinidad & Tobago. This was the first place they’d landed in since leaving New Caledonia a month before, that had actual Pan-Am facilities, and Ford was relieved to be among friendly faces once more. The next leg was the last one – the final flight home to New York!

Captain Ford and his colleagues were so eager to get home that they took off almost immediately. It was now the 5th of January, and New York was just a short jaunt away. They left Trinidad so early that when they arrived in New York, it wasn’t even daylight yet! As a result, when Captain Ford contacted La Guardia Airport Air-Traffic Control with the words: “This is the Pacific Clipper, inbound from Auckland, New Zealand! Overhead in five minutes!”, the air-traffic controller called back that the Pacific Clipper was not allowed to land!…for 50 minutes. Only when the sun rose near 7:00am, did the plane finally touch down in American waters once more!

The incredible journey of the Pacific Clipper

In the end, Captain Ford had made history! And in so many ways! Let’s count them, shall we?

The first-ever round-the-world flight by a commercial airliner.

The longest continuous flight made by a commercial airliner.

The first circumnavigation of the world by following the equator.

The longest nonstop flight in the entire history of Pan-American World Airways: 3,583 miles from Leopoldville to Natal.

In the nearly four weeks it took them to get home, Ford and his crew had visited twelve nations on five continents, and had made eighteen landings! They had also made incredible history!

The Pacific Clipper on its arrival at La Guardia Airport, New York. 6th of January, 1942

Want to read more?

Sources included…

The History Guy YouTube Channel.

The Pan-Am Historical Foundation website.

The Navy Times website.

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Restoring a 1920s Retractable Razor Strop

 

Back when straight razors were still the predominant method for carrying out the daily shave, a wide variety of accessories and nicknacks were invented to go along with them.

Just like how nowadays you have suction-cup stands for your smartphones, or bendy-bendy-all-adjustable tripods and selfie-sticks for all your photographic social-media needs, or how companies are now trying to sell you all kinds of groomers, trimmers and motorised hedgeclippers to trim literally every part of your body that you can reach (and even some which you probably can’t!), back at the turn of the 20th century, all kinds of manufacturers were cranking out an equally wide variety of gizmos that claimed to make your grooming routine oh-so-much-easier!

From specialist sharpening stones to razor-kits, reusable blades and shaving sticks, all kinds of accessories were available from any number of magazines, catalogs and specialist suppliers. One of the most common accessories – especially popular among the well-groomed traveling gentlemen of the world – was the retractable razor strop.

Strops – the long, wide strips of leather used to smooth off and realign the edges of the blades on cutthroat razors – had to be as smooth and as flat as possible. Folding, bending or creasing the strop in any way while traveling would cause excessive wrinkles, kinks or deformity to the leather, which would render it useless as a strop. Because strops had to be kept smooth and flat, they could take up a lot of space when traveling. However – there was nothing against rolling up a strop – simply rolling a strop up wouldn’t cause creases or fold-lines that a razor-blade could trip over – which made it the ideal way to package a strop small enough to the portable, without compromising its structural integrity.

The only thing was – there had to be a way to easily roll and unroll the strop each time it was used. In the end, a simple coiled-spring retractable mechanism was created, and housed inside a metal barrel or casing. One end of the strop was attached to the spring-barrel inside the casing, and the other end of the strop trailed out of the mouth of the casing. The remaining leather was coiled up inside the casing, and wrapped around the barrel. Pulling the strop out for use would cause the spring inside the casing to tighten up, and letting go of the strop would make the spring relax, spinning backwards and pulling the strop back inside the storage case.

Simple, and effective.

So effective that several of these retractable strops were manufactured and sold to the public! What had once been a strip of leather over a foot in length and two to three inches in width, was now little more than a rolled-up leather strap, tucked into a metal casing smaller than a soda-can! So simple, so robust, and so convenient!

The majority of these retractable razor strops were housed in cases made of nickel-silver, or silver-plated pewter, or some other variety of cheap, white metal, presumably to keep costs down. The one which I bought online differs from all these greatly, in that the outer casing is made entirely of sterling silver – and has all the hallmarks to prove it!

I have seen several of the silver-plated ones, but never one which was made of solid sterling silver before. After winning it at auction

Pulling Apart the Strop

The original leather that comprised the main component of the strop was completely un-salvageable. It was dry, cracked, torn, brittle and covered in grime. No amount of beeswax and polishing was ever going to restore it.

The first step was to remove this. To do that, I unscrewed the strop-casing, starting with the large bolt that goes right through the body of the casing. After unscrewing it, I pulled it out, and broke the casing open into its three main components: The barrel, and the two end-discs.

Inside the barrel was the strop, and the winding cylinder, all held together by two end-caps.

The strop with the new leather.

I pulled these out and then removed the spring that activated the recoil-mechanism. The final step was to remove the actual leather from inside the cylinder. The leather is simply held in place by friction, and three triangular claws that hold the leather in place. I ended up just cutting the leather out using my pocketknife and pulling it out with tweezers.

I used the original leather as a template, from which to cut a strip of fresh leather of the same dimensions, from some scrap leather of the same thickness and similar finish.

The next step was to fit this into the winding cylinder, and fit the three claws in place, to stop the leather sliding out. After that, the spring was put back inside, the end-caps slid on, and then the leather was simply rolled up around the cylinder.

After that, the cylinder, spring and leather were dropped into the barrel, and the end-discs were fitted back on. I fed some of the leather out of the mouth of the barrel, and then started screwing the bolt back on. This proved to be surprisingly tricky and took a few tries to get right – but the threads finally meshed and the whole thing was screwed back together.

The final step was to cut and sew a new pull-strap to put onto the end of the strop, polish up the metal to remove the worst of the tarnish, and then hang it up in my bathroom. All done!

The hallmarks on the silver casing reveal that the strop was made in Birmingham, in 1924. For something that’s nearly 100 years old, it works surprisingly well!

The spring is perhaps not as elastic as it once was, but the results speak for themselves…

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Restoring an Antique Ivory Straight-Razor

 

Sometimes, you buy stuff secondhand, at auctions, at flea-markets, from collectors’ fairs, and you look at it, and think:

“Gee, it’s nice!…Pity it doesn’t work…”

That was the situation I found myself in when last year, I bought a very nice, antique straight razor with ivory scales. The scales were in decent condition…but the same could not be said for the blade housed within them. Ground almost into nonexistence, and as blunt as the flat side of an axe, no amount of a makeover was ever going to revive the career of this blade…which was a shame, because razors with ivory scales are beautiful..and hard to find.

The good news is that straight razors are very simply constructed, and I was certain that with the right equipment and tools, it would be possible to remove the worn out blade, find another blade from another, trashed razor, and replace it.

Fortunately, cheap, broken razors are all over the place, and earlier this year, I stumbled across a perfect candidate for my project at my local flea-market. For $5.00, I nabbed up a square-point BENGALL in excellent condition…bar the fact that the scales…which I judged to be some kind of celluloid…were literally crumbling to dust.

I tore the broken scales off with pliers, and using a file, I ground off the flange around the top of the pivot pin. I popped out the washer, pulled the whole pin and all the other washers out of the scales, threw the scales away, and started in on the blade, polishing away all the rust and staining – once I installed this blade in the new scales, this would be impossible to do, so it had to be done now.

The next step was more delicate: Removing the worn out blade from the ivory scales:

I taped the ivory, and then set in with a file to grind down as much metal as possible. I peeled off the now paper-thin washer that held the pin in place, and with a punch and hammer, I drove the pin out through the scales and blade. This loosened everything up enough to swivel the scale out of the way, drop the pin out, and remove the blade, all at once.

Unfortunately, the ivory, being as old as it is, was more fragile than I had anticipated…which is saying a lot, because the ivory was already wafer-thin and delicate as hell! As I half-expected, the ivory split across the holes drilled for the pins. Apparently, restoring this razor was going to be a bit more challenging than I had first hoped.

Simply gluing the ivory back together would never work – it would have to be reinforced. I found the thinnest strips of steel sheeting that I could find – barely thicker than tin-foil – and cut out rectangular strips which I could use to glue the ivory onto, and then glue that back onto the main body of the scales.

One benefit of the steel strips being so thin is that they’re very easy to cut with ordinary scissors – or fold, or tear…or even punch holes in! So I punched two holes in the strips so that they could still hold the ivory together, while having somewhere for the pin to go through.

I glued everything back together and left it overnight to set. The next step was relatively easy: Putting the razor back together, with the working, replacement blade.

To prevent wear, friction and jamming, razor-blades are inserted into straight razors very carefully in the following manner:

First: A washer or collar goes onto the pin. The head of the pin is “peened” or hammered flat so that it flares out at the end – this stops the collar from dropping off.

Next, the collared pin is fed through one hole in the scales. Another washer is dropped in on the other side, so that the scale is sandwiched between two washers. The razor blade is then dropped in on top of this, and a third washer is added on top of that. This means that the razor is always sliding against smooth metal – not against the body of the scales, which could damage them, cause friction, or jamming.

The other half of the scales is fed onto the pin through another pin-hole, and then a fourth washer is popped in on top of that, when the pin comes out the other side.

So far, so good. I set it all up and left it to dry overnight.

In the morning when the epoxy glue had hardened and the steel strips and ivory had all been bound firmly to the body of the scales which they had broken off from, it was time to do the last step of the reassembly process: Affixing the blade permanently to the scales.

Traditionally, this is done by filing down the head of the pin until it isn’t more than two or three milimeters above the top of the scale. With the collar or washer in place to provide protection, the head of the pin is – once again – peened over.

This is where I really was rather worried – peening the pin would mean putting the razor on my jeweler’s anvil, lining it up, and then belting the top of the pin with my ballpeen hammer to flatten out the head and mushroom the edge over the hole and washer, to keep everything in place.

Normally, this is easy – hold it still – and literally hit the nail on the head. Or it would be easy, if I wasn’t trying to fix a razor with fragile, brittle, antique ivory scales…

I had serious misgivings about whether the ivory would be able to withstand the shock of the hammer-strikes, but in the end, my fears were unfounded. That said – peening the top of the pin enough to hold the razor together, and stop the collar from popping out – took considerably more effort than I had anticipated – and I was hammering away at it for quite a while!

In the end, the results speak for themselves. The final touches were a bit of filing and sanding to clean up the glue and ivory, and of course – a very, very thorough honing and sharpening, to get the blade back up to snuff…

The results aren’t perfect, but the razor is intact, functional, elegant, and has a rustic, vintage charm to it. The razor swings smoothly on the pin and the scales have held together admirably, considering what’s been done to them. The blade opens and closes flawlessly, and is perfectly centered, preventing any possibility of the edge of the blade striking the scales – which is a huge pain in the ass, because it would indicate manufacturing faults – none of which exist here!

A beautifully polished, sharpened blade has been given a new home, and a pair of creamy-coloured ivory scales have been given a new lease on life.

In this final photograph, you can see just how dramatic the difference is between the two blades – the original German one, made in Solingen (on the left), and the replacement Bengall one, made in Sheffield, (installed between the ivory scales, on the right).

The installation of the new blade was both easier, and more difficult, than I had initially expected it to be. Easier, because the steps required to make it happen were not really that difficult to execute, but also more difficult, because of the unexpected steps that had to be taken, over the course of the refurbishment.

Thanks for reading my latest restoration project! I hope you enjoyed it and will return again soon. Fixing antiques and breathing new life into them has always been one of my big hobbies. This isn’t my first antique restoration, and certainly won’t be my last – but it is my first restoration of an antique straight razor! Despite the setbacks, I think we can confidently call this a success.

Here, you can see the completed razor alongside the two other ivory-scaled razors in my collection…

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Antique Chinese Silver Retractable Ear-Curette & Toothpick Pendant

 

This is probably one of the most interesting, unusual, useful, and, possibly – off-putting – pieces in my eclectic collection of antiques.

This was something that I scored on the great online flea-market we call eBay (remember folks! I’m on eBay now!). It isn’t something especially common, and I thought it’d make a great little novelty addition to my collection.

This solid silver rectangular pendant, with a ring-top and a pair of toggles on the sides was something that I stumbled across completely by chance on the internet, and once I realised what it was, I decided that I simply had to have it, even if only for the novelty aspect of the whole thing!

Very common in Chinese culture, these ear-curette and toothpick pendants were extremely popular in the late 1800s and early 1900s, and were commonly used by Chinese women to remove stubborn earwax from their ear-canals, or crud from between their teeth after meals. In an age before consistent, and quality dentistry, anything extra that you could use to keep your teeth clean would’ve been very useful!

This particular pendant has two slide-out implements: A curette (an earwax-spoon), and a toothpick. They were most commonly made of either gold (usually 18kt), or silver (800, 900, or 925 sterling), and were popular as trinkets, gifts and practical little doodads to carry around with you on a day out.

Here, you can see the toothpick. Fully extended, the whole thing is about 3 inches long, from the point of the toothpick to the end of the ringtop. The slide-toggles are shaped like flowers, and the sides of the pendant are also decorated with leaves and flowers.

On the other side is the little hook/spoon-shaped scoop for removing earwax.

Pendants like this one were commonly worn around the neck with a matching chain of either gold, or in this case – solid silver. My grandmother had a pendant like this in solid gold which I remember from my childhood. It was lost in a move and we never saw it again, but it is nice to have this little trinket – a unique piece of Asian silverware, not likely to be found manufactured anywhere else in the world!

Although this is probably the smallest antique I’ve ever bought, at just over 1.5 inches long, I think that it ranks up there as one of the most interesting, because of how unique it is. They aren’t common, and so far as I know, aren’t made in modern times. At least, not in this configuration! I hope you found this short posting enjoyable and got the chance to see something that perhaps, you’ve never seen before, or perhaps, not even thought might exist!

Well, now you do.

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Whistle-Blower: An 1887 Metropolitan Police Whistle

 

The chilly winter air, the flurries of snow, the heaving, choking smog, the hissing, flickering luminescence of gas-fired streetlamps. Footsteps in the distance. Somewhere, a clock-tower chimes midnight.

Suddenly, a scrambling of feet! A struggle! The sound of a body falling, and the distant ‘splash!’ of something heavy hitting the water.

A moment of silence. And then the crisp midnight air is sliced in half with the shrill, discordant screeching sound of a whistle…

The Victorian era was obsessed with four things: Crime, death, standardisation, and modernisation. In sixty years, technology advanced by leaps and bounds unheard of in previous lifetimes, and one object encapsulated all these things in one – one of the most iconic items associated with the Victorian era: The humble Metropolitan Police Whistle.

The Origins of the London Metropolitan Police

Established by Sir Robert Peel in 1829, the “New Police” or to give it its proper title: The London Metropolitan Police, was the world’s first modern police force – a state-run organisation of paid, professional officers, designed specifically to detect, deter, and solve crimes.

Prior to this time, ‘policing’ was often carried out by the civic guard, soldiers, parish constables, or the night watch, as in Rembrandt Van Rjin’s famous painting…

“De Nachtwacht” (“The Night Watch”) by Rembrandt Van Rjin

Here, you can see the men of the night watch, armed and protected with pikes and halberds (in the background), helmets, and muzzle-loading muskets (on the left and right).

The whole concept of the police was so new that Peel wasn’t even sure how it was supposed to operate. For example, police were originally expected to be on duty at all times, and to wear their uniform at all times. Then they changed it so that an armband on the sleeve of the uniform indicated whether the officer was, or was not, on duty. Finally, they decided that officers would only be on duty when they wore their uniforms, and did not have to wear them when they were not on duty!…things were very confusing! And it only got even more confusing when they actually had to fight crimes in progress.

The new London police service patrolled the streets day and night, working in timed shifts which covered specific quarters of the city (known as ‘beats’). If a policeman did one thing more than any other – it was walking. In the days before telephones and emergency-service numbers, a physical, visible police presence on the streets was the best way to detect and deter crime.

But what happened when crime was detected? A constable might try and combat the criminal himself, but if this wasn’t possible, then he would need to call for backup. This was usually done by beating his truncheon against fence-railings or along the pavement, or by swinging a heavy, wooden rattle round and round and round. The blades of the rattle snapped and clapped back and forth along the ratchet inside, making an almighty racket!

The problem was that the rattle was bulky, difficult to carry, heavy (it had to be large enough to make a loud-enough noise to be heard over the traffic, don’t forget), and it could easily be taken by a criminal and used as a club to attack the officer, if he so desired. On top of that, despite the rattle’s size and weight, it was not always distinguishable over the sounds of a busy city – thousands of pedestrians, horses, carriage wheels, market cries and the sounds of industry could easily drown it out.

This was why, in the 1880s, the police, finally fed-up with this inefficiency, decided to rethink the equipment issued to constables on the beat.

Enter a man named Joseph Hudson.

Joseph Hudson & Co – Whistle Makers

Joseph Hudson was a Birmingham toolmaker and whistle-manufacturer who had established his business in 1870. Moderately successful, Hudson was quick to see that what the police needed was not a heavy, bulky rattle, but something small, lightweight, easy to carry, and which could produce a deafening noise!…They needed whistles! And by gum, he was going to be the fellow who was going to provide them!

A competition was announced in the London Times newspaper, and competitors were encouraged to submit their entries, which would be compared and tested. Hudson started manufacturing his whistle, trying to find a design which would be loud, distinct, and portable. The story is often told that he got the idea for how the whistle should sound when he knocked his violin off his workbench. The twanging, reverberating strings gave him the idea that the whistle should be two-toned – one blow by the user should produce two different notes. Combined, they would not only be louder, but also very distinctive – anybody hearing the whistle would know at once that it was a police whistle.

The Original Metropolitan Police Whistle

Hudson’s whistle performed admirably in tests conducted by the police. It was loud, had a long audible range, was compact, lightweight, robust, and distinct. The police liked it so much that they asked Mr. Hudson to start manufacturing these new whistles at once! Joseph Hudson was so eager to fulfill his enormous new contract that a lot of the earliest whistles came with manufacturing faults, and had to be sent back to the factory for repairs – awkward…

The whistle and its chain

But eventually, they got the manufacturing processes and quality-control up to snuff, and in 1883, the London Metropolitan Police started carrying the new whistles. Rattles were to be handed in as soon as possible, and the new whistle was to be introduced to the force to replace it. Originally, the whistle was hooked onto the uniform tunic with a chain, and the whistle hung straight down the front. This proved to be less than ideal – the whistle and chain would flop around if the officer had to engage in a foot-pursuit, or a suspect could grab the whistle and pull it away from the officer.

Later, police regulations were changed so that the whistle was stored in the breast-pocket of the uniform tunic, with the chain-hook going through the buttonhole of the nearest available button. The chain hung out of the pocket in a “U” shape. This arrangement allowed for inspectors to see that their officers were carrying their whistles, while also keeping them out of sight. The hanging chain also made it easy for the officer to pull his whistle out quickly in an emergency, but wasn’t so long that a suspect could grab hold of the chain during a scuffle. This arrangement is still used today with police dress-uniforms.

The hook at the end of the whistle-chain

Police whistles were largely made of either nickel-silver, a nickel-alloy, or else were made of brass, and later plated in nickel. Which whistles were made of which material changed over time, depending on which metal was more available.

During the First World War, for example, J. Hudson & Co. actually had to make its whistles out of steel (donated by the Cadbury Chocolate Co. workers over in Bournville!) because the British government decreed that brass (the usual whistle-material) was required for the war-effort! But nobody needed the steel used to make chocolate-boxes and biscuit-tins, so it was used to make whistles, instead!

Dating Antique Police Whistles

As police whistles started becoming more and more popular, both in London and then further afield in the UK, and then around the world, mostly following the British model, manufacturers rushed to meet the demand. Other industries such as railroads, insane asylums, prisons, and countless other institutions and organisations suddenly realised how useful whistles could be, and they too, started putting in orders.

The earliest Metropolitan police whistles, as made by J. Hudson & Co., were produced in the company’s factory on 84 Buckingham Street, in Birmingham, starting in 1883. Within two years, demand was vastly outstripping supply, and Joseph Hudson was forced to close his original factory, and move to larger premises at 131 Barr Street, in 1884-85.

Even as the company moved manufacturing facilities, it also changed manufacturing processes, styling, stamps, and marks. This is what makes antique whistles so easy to date. Knowing how long and between what dates a company remained at a particular address helps you to date when a whistle was made.

The address of 131 Barr Street, on the whistle barrel

While changes in barrel markings and addresses can give you a date-range for when the whistle was made, more subtle changes in the whistle’s manufacturing can help to narrow down the date to an actual year. Variables such as the shape of the loop on the top of the whistle, the shape of the mouthpiece, and even the style and spacing of the branding-stamps on the barrels all changed over time as manufacturing techniques changed or improved. This is how it was possible to date this particular whistle to 1887!

How were the Whistles Used?

So far, I’ve covered why the whistles were created, what they were made of, and how they were dated, but how were they used?

The whole purpose of the whistles, like the rattles which they replaced, was to raise the alarm and call for assistance. In Victorian times, the only way for the police to respond to crime was to literally be there on the spot when it happened. There was no such thing as telephone or police radios in those days. Officers walked beats (timed patrol-routes) around their city, town or village, usually in shifts of one hour, after which they could return to the station-house for a break, a drink, a rest, and either go back out on patrol, or go home, if their shift had ended.

While out on the road, officers had no way of communicating with each other. If they spotted a crime in progress – a mugging, burglary, theft or even a murder – it was up to the officer on the scene to take charge of the situation. If the situation was more than he could handle, or if it suddenly went out of control – that’s what the whistle was for. Blowing the whistle as long and loud as you could would alert other officers on nearby beats that immediate assistance was required, and they would respond by rushing in the direction of the last whistle blast.

In this way, the whistle acted as both an instrument for calling backup, and as a siren, to alert people to what was going on. It also acted as a physical marker, so that people could hurry to the location where a policeman needed assistance, by following the sound of the whistle.

Police whistles remained in regular use from the 1880s up until the 1970s, when factors like improved portable communications devices, cars, and better electronics finally rendered them obsolete. They’re manufactured today largely for tourists, collectors, police dress-uniforms, and for historical reenactments or as movie- or television-props.

Collecting antique police whistles is a big hobby, and high prices can be paid for whistles which are particularly old, or which have rare stamps on the barrels, indicating that they were manufactured for, or issued to, different police forces or organisations.

Of the original J. Hudson whistles, probably the rarest or most collectible are the first-generation ones marked “84 Buckingham St.” on the barrels, because these were only made for two years. Even rarer than that are the handful of whistles from this time with even rarer markings on them. Rarer, because they were manufactured specifically for the various lunatic asylums around the UK at the time, and bear markings of the asylums to which they were issued. These whistles are among the most expensive, costing several hundred or even thousands of dollars each.

The second generation whistles, from the 1880s and 1890s, such as the one featured in this posting, are a little easier to find, although they are a bit more expensive than the average price for an antique whistle, due to their age.

I hope you found this glimpse into the history of whistles interesting. More postings along a similar theme are planned for the future, so keep an eye out for them!

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Now Selling on eBay!

 

I have been updating a few things on my blog over the past week or so, and one of those things was removing and updating the links and information in the “EXTERNAL LINKS” page on the side.

I have now added in a link for my eBay page! I’ve been selling antiques and collectibles online since 2015, and since the start of the pandemic this year, I’ve been slowly moving across to eBay.

As of the time of this posting, I’ve been selling on there for about six months. Feel free to shop and browse all the stuff on sale.

While I sell mostly to Australian customers, where possible, I’m also happy to sell to international customers, too. Just keep in mind that obviously, international sales will incur higher postage costs and longer delivery-times (especially with the coronavirus pandemic going around at the moment). If you decide to buy multiple lots, postage will be combined where possible, to save costs.

So, feel free to look around and bid! I’m also open to reasonable offers on most items. The link is the red button down below.

My eBay Page!

Thanks for looking, everybody!

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“My Card, sir!” – Vintage Calling-Card Cases

 

There was a time – now almost without living memory – when the first meeting between two hitherto unknown parties – started with the exchange of one’s cards, be they simple calling-cards, or more elaborate business-cards.

Calling cards and business-cards of all kinds, date back centuries, all the way to the Georgian era. In an age when refinement, politeness and decorum ruled supreme, there were prescribed ways of doing literally, absolutely everything, and guides and rulebooks to social, business, and visiting etiquette had a lot to say on the subject of cards.

In this posting, I’ll be going over card-cases – the little boxes, sleeves, or cases, in which these once virtually mandatory slips of paper were carried around in.

What is a Calling Card?

I have covered calling cards in an earlier posting, so I won’t go into too much depth here. If you want to find out more, check the previous posting here.

Essentially, calling cards were invented as a way to identify and introduce people if you were moving around in polite society. The idea that you just barged into someone’s house or office unannounced was considered the height of rudeness in the 1800s! You never just shoehorned your way into someone’s home or office without announcing yourself! How dare you!?

Presenting your card was a way for the occupant, owner or businessman, to know who was calling upon him, or her, and whether they wanted to accept the call, or not. You weren’t ‘visiting’ people, you were ‘calling’ on them. Hence ‘calling’ cards.

Almost everybody who could afford them, had calling cards. They could be small, large, medium-sized, plain, or incredibly elaborate. At the very least, cards contained the bearer’s name. As card-cutting and printing technology improved with the Industrial Revolution, cards became more and more elaborate and might include not only your name, but also your address, any professional, courtesy, military or aristocratic ranks or titles, your occupation…and by the early 1900s – things like your telephone number. It was around this time that the line that once separated ‘calling cards’ and ‘business cards’ started becoming more and more blurred, and nowadays, they’re usually one and the same.

In an age before voicemail, emails and paging, calling cards were a way to leave a discrete, neat, polite message, if you called on someone, and they weren’t available. You left your card, to show that you had been there. You might even write a message on the back, to indicate when you might return, how the recipient might contact you, or the reason for your call.

Calling cards became such a fixture of polite society and proper business relations that almost as soon as cards could be manufactured in abundance, card-carriers started needing to find ways to store their cards. It wouldn’t do to keep them stuffed into your pockets or crammed into your wallet along with the shilling coins, half-crowns, silver dollars and dimes – oh no! To hand over a wrinkled, marked, torn or otherwise imperfect card was a huge faux-pas!

It was for this reason that card-cases were invented.

The Victorian Card Case

Card-cases only started being manufactured from the mid-1800s onwards. Literacy, and more importantly – manufacturing processes – were increasing in efficiency and quality, which allowed for the creation of cheap calling cards, and this was what caused the creation of card-cases. Such cases were made of all kinds of materials, but their general manufacture doesn’t predate the Victorian era – cards simply just weren’t enough of a thing before the 1840s, to justify manufacturing cases specifically to hold them.

Card-cases were often made of mother-of-pearl or abalone, tortoise-shell, silver, or if you could afford it – even ivory! Cases varied in size from tiny, to enormous! Unlike today, there was no standard size in Victorian times, for how large a card had, or should, be.

Today, to aid the manufacture of things like wallets, briefcases, and card-cases, all cards – business-cards, credit-cards, transport and ID cards, even drivers’ license cards – are all made to the same dimensions. This sort of standardization did not exist in Victorian times, which is why Victorian card cases could vary widely in size, from a width of barely over an inch, to wider than two inches, from a length of just over three inches, to up to nearly five!

The majority of card cases were eventually standardised (more or less) at between three inches wide and four inches long, and maybe 2-3/8 of an inch thick – enough to hold a decent number of cards, while out and about on the town.

A sterling silver card case from my collection.

Since card-cases were often a reflection of the owner’s personal tastes, they came in a wide variety of styles, from plain to engraved, chased, repoussed…some cases were even sold with high-relief images of famous buildings on them, like cathedrals, the Crystal Palace, or notable country houses on the sides. Cases in silver, depicting particularly famous buildings, or which were made by particular silversmiths, are the ones which command the highest prices.

Buying an Antique Card Case

There’s lots of considerations to be made when buying an antique, or vintage card-case, and here, we’ll be going through them, bit by bit…

Size

When it comes to card-cases, size matters. And it matters more than you might think, because, like I said earlier – Victorian cards were not made to any standard size. Because of this, card cases also came in a wide variety of sizes. When purchasing a vintage one for your own cards, it’s important to know whether the case you like is even going to fit the cards you’ll put into it.

For this reason, when buying a card case, always carry a card (or even a slip of paper on you) which you intend to put into said case, to make sure that the cards fit in, and more importantly, that the lid closes!

Defects

For longevity, beauty and strength, most antique card-cases were made of silver, usually of a very thin gauge, or thickness. When buying an antique card-case, make sure that there aren’t any defects that will compromise the case’s usability.

For example: Keep an eye out for wonky or cracked hinges, splitting or separating seams, cracks from metal fatigue, or even wear-holes, from where the silver has been polished so extensively that it’s worn right through the metal! Also make sure that the case opens and closes smoothly and that the lid won’t accidentally drop open unexpectedly.

Materials

The vast majority of card cases were made of silver, but many other materials were also used. Popular ones included mother of pearl, abalone shell, and tortoise-shell. Since these materials were fragile, they were often just used for decoration. Usually, it was a veneer of shell, over a case made of wood, onto which the slices of shell were simply glued, sanded and polished.

The one exception to this was ivory: Often, card-cases made of ivory were made of sheets, strips and panels of ivory glued and riveted together. Ivory could be sliced thicker than tortoise-shell or abalone, which meant that the panels were stronger, allowing you to manufacture cases out of ivory using the ivory alone, without wood to reinforce it.

When purchasing a case made of natural materials, keep an eye on cracking, but also glue-failures. Over time, old glue dries out, gets brittle, and then the panels of nacre or shell, crack and drop off. Usually these flaws are repairable, but it’s important to check for these things in advance – once they fall off, these decorative pieces can be easily broken, and it’s better to know about this stuff before you buy it, rather than after, so that you can make allowances for it.

Another thing to be aware of is lifting and warping. Natural materials such as ivory, and tortoise-shell can dry out over the decades, and this drying can cause panels of ivory or sheets of shell, to crack, split, warp, and lift away from the wooden backing upon which they’ve been glued. Avoid any cases with defects like these, as they can be very fragile and difficult to repair. Trying to glue down a warped piece of ivory or shell will only cause undue stress on the panel of natural material, which could cause it to crack!

Any pieces which have simply dropped off due to age, however, can usually be sanded smooth to remove the old glue, and then simply carefully glued back into place, using modern adhesives, with no problem.

Clasps and Hinges

Apart from the materials that the case is made of, also check the workmanship of any moving parts. On card-cases, this usually means paying attention to the hinge that holds the lid together, and the clasp that keeps it shut!

Not all card cases have clasps or catches, but when they do, they’re usually spring-loaded, with little brass catches or hooks, and release-buttons built into the edge of the case. Make sure that the clasps hold the lid firmly shut and that the release-button can open it easily. The majority of silver card-cases were simply friction-closed, but cases made of wood and clad in natural materials had clasps, to ensure proper closure.

The two rivets holding in the hinge for the lid of the mother-of-pearl card-case

Pay particular attention to the main stress-point on all antique card cases: The hinge. These are often very small, and are only held in by a couple of rivets or a soldering-job, and a very small, possibly peened-over, hinge pin. This is where things like metal fatigue happens, and where pins, rivets and screws can work themselves loose or pop out.

Card-Cases Today

You can still buy calling-card or business-card cases today, and a number of companies still manufacture them, however, for anything flashier than punched steel, or brass, expect to pay a premium. In most cases, purchasing a card-case in sterling silver (the most common material in the old days), is best done secondhand – antique or otherwise vintage silver card-cases can usually be picked up in good condition, for anywhere between $200 – $500+, depending on condition. Cases made by famous manufacturers command a premium, and can have asking prices of well over $1,000. By comparison a brand-new silver card-case, from say, a company like Tiffany & Co., can cost upwards of nearly $700!

Sterling silver card-case from Tiffany & Co.

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Putting it down on Paper: Restoring a Vintage Desktop Blotter

 

It’s one of the most common tropes of the Golden Age of Detective Fiction, from the 1880s to the 1950s! It appears in everything from Sherlock Holmes to Peter Wimsey, Poirot to Miss Marple – the vital clue – the incriminating message – the saving grace – written on a sheet of paper, flipped over, and then blotted on a sheet of blotting paper, which the killer, extortionist, blackmailer or other careless desperado – then – conveniently – forgets to dispose of! As Holmes would say: “There’s nothing so important as the study of trifles!”

Since the second half of the 1800s, desk blotters or blotting pads, have been a staple on every well-appointed desktop. Designed to hold a sheet of blotting paper where it was convenient, and handy for keeping spills, stains and marks off of the surface of your – presumably – very beautiful, and expensive desk – desk-blotters served a multitude of purposes: Coaster, food-tray, jotting-pad, blotter, and even a launchpad for the greatest ideas in the world!…the sheet of blotting paper detailing the original design for the “Crystal Palace” is one of the most famous in the world!

I bought this blotter pad at a local antiques store about three years ago for just $10.00. It was in decent shape, but the more I looked at it, the more I realised just how tired, worn out and in need of attention, it really was. The surface of the pad was covered in ring-marks from old drinks and the triangular, leather corner tabs were peeling and lifting from old age and the glue used to adhere it, becoming unstuck.

Removing the tabs from the blotter, so that I could resurface it.

Fed up with constantly having to glue the damaged tabs back down, over, and over, and over again, I decided to just pull the whole thing apart, and do a proper restoration!

Restoring the Blotting Pad

The first step was to do something about all these ugly marks on the surface of the pad. The actual structure of the pad was in excellent condition, but it wasn’t the prettiest thing to look at. I found some scrap leather in a nice, dark blue colour, and started measuring and stretching and trimming it to the right size. I spread down glue and pressed the leather over the top of the old pad. The leather would make the pad look nicer, it would last longer, and the softness of the leather would provide cushioning for writing – so it didn’t feel like you were trying to carve your name into the desk while writing.

To hide the raw edges of the leather, the next step was to fit in a ribboned border, with some matching blue ribbon. This was easy enough, although it took rather more glue than I had anticipated!

The final step was the hardest: Attaching the blotting paper tabs.

The original tabs were very flimsy – they were literally paper-thin sheets of leather glued and folded around pieces of paper! Something this delicate would be impossible for me to repair, so I decided to cut away all the excess underside paper, leaving me with just the upper leather tabs – the only part which would show.

I found some scrap leather, and using the tabs as stencils, I traced and cut out four identical triangles of leather. I glued the original leather tabs onto their new, leather backing pieces, and then I glued, and nailed, the tabs into the corners of the blotter pad. The pad was more than thick enough to fit the nails, and the corner-tabs would hide the unfinished edges of the ribbon border around the edge of the pad.

I had planned to just glue the tabs down, like they had been originally, but it was soon obvious that the thickness of the blotting paper would simply pull the tabs right up off of the surface of the blotter, and no amount of glue would be strong enough to hold the tabs down. So in the end, I decided that a few, tiny, discrete nails, carefully hammered into the right places, would be ideal. They would be barely noticeable, they’d fit in well, and be so small as to be virtually invisible.

The whole process took less than a day, and the end result was simple, elegant, and robust.

Concluding Remarks

Breathing new life into this battered and obviously well-used blotting pad was much easier than I originally thought it might be. My greatest fear was tearing the original tabs, because of how thin they were, but the whole restoration process was surprisingly easy. I had a choice, when resurfacing the pad, of using brown or blue leather, but since most of the pads I’ve seen were almost always some shade of brown, or other heavy, dark colour, I chose blue so that it would stand out more, and I think the results speak for themselves!

Once I’ve fitted out the blotter with fresh blotting paper, it’ll be ready to grace another desktop for another 100 years!

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Getting the Bird: A Review of the Pelikan M800 ‘Stone Garden’ Limited Edition Fountain Pen.

 

My ongoing love-affair with fine writing instruments, and desk accessories, was taken to another level this week, when I finally acquired – after many years of indecision – my very first PELIKAN fountain pen!

Pelikan is one of those pen-companies that the populous at large, are not overly familiar with. Everybody has heard of names like Parker, Sheaffer, Waterman, Montblanc, and maybe even brands like Visconti, Pilot, Faber-Castell, Sailor, and Namiki. Pelikan, by comparison, is relatively unknown outside of Europe. Most run-of-the-mill pen-and-paper shops won’t sell Pelikan pens – to find them, you need to visit pen shows, or more high-end pen-and-paper stores which specialise in higher-end or more refined writing instruments.

Despite this relative obscurity, Pelikan enjoys a good reputation among fountain pen collectors for the size, quality and dare I say it – variety – of their pens, which come in all kinds of colours, sizes, stylings, and price-points, from something like a little Pelikan M100, all the way up to an M1000! Passing through the M200, 400, 600, and 800, along the way.

This posting is going to be a review of the first Pelikan pen in my collection, the M800-sized limited edition known as the ‘Stone Garden’.

Why Buy a Pelikan?

Over the last two years or so, I’d been wanting to make a conscious effort of not only increasing, but also upgrading, my overall collection of antique, vintage, and modern fountain pens. To this end, I’d started selling off most of my lower-end, or otherwise unused fountain pens, writing accessories and unused inks to friends, and other collectors.

It was around this time that I started looking at new pens that I might want to buy. I’d had enough of American and British pens, such as Parker, Waterman, Swan, etc, and turned my sights towards Europe. Europe has a very rich history and culture of pen manufacture, and I wanted to add a sampling of this culture to my collection.

In Europe, the main pen-manufacturing countries are Italy, France, Germany, and Switzerland – yes, Switzerland! Don’t forget that Caran d’Ache is based in Switzerland!

Well. I already had a Visconti…and a Caran d’Ache…and I’d had my fill of Montblancs…and pens from other manufacturers seemed too far outside of my price-range for the time-being. Because of this, I turned my attention to – PELIKAN!

I had discounted adding a Pelikan to my collection for many years because of a sort of love-hate relationship that I had with them. Any pens which I could afford were too similar in styling to pens which I already had. Any pens which were different from what I had, were too expensive to afford! It really was a case of six-of-one and half-a-dozen of the other! So in the end, I turned away and put it all on hiatus.

That changed last year, when I found out that Pelikan had released the new “Stresemann”-style, to their famous “Souveran” line.

For those who don’t know – “Stresemann” is a reference to the early 20th century German politician, Gustav Stresemann, who was famous for wearing a stroller suit with a pair of pinstriped black and grey trousers. To pay homage to Stresemann’s distinctive style, the new pen was designed to be black, with silver trim and medium grey stripes and a shiny, white gold nib – very different from the usual monochrome offerings made by Pelikan, such as black, blue, green, red…usually in quite bright, vibrant colours.

The Pelikan ‘Stresemann’ model in silver-tones, black, and grey.

Initially, I had my heart set on getting a Pelikan Stresemann in Pelikan’s largest, M1000-size, and started price-hunting. I wanted a Pelikan that didn’t look like all the other damn Pelikans that I’d seen, and the Stresemann seemed to be the best bet! That is…until I saw the price. Naturally, being almost brand-new, it was extremely expensive! So I started looking at something a bit more affordable – a different model, perhaps. Or a different size?

That was when I stumbled across a curiosity of a pen that I found on the “Available Stock” page of a local online pen-and-stationery retailer. It was a Pelikan, alright – but not as I knew it! The cap was a rich, navy blue. The blind-cap was navy blue. Even the section was navy blue!

When every single Pelikan pen I’d ever seen in my life had contrasting black, you can bet that the contrasting navy blue certainly stood out! On top of that, the main area of the pen’s barrel was not just boring old stripes of blue, or red, or green…or even the grey of the Stresemann – oh no! This was much more interesting! It was a marbled, mottled, speckled brown and blue of different shades, all mingled up together, punctuated here and there by little specks of black!

This was something which looked so incredibly different from every other Pelikan pen that I’d ever seen, that I was immediately drawn to it! I was intrigued, fascinated, amazed! It really was a case of love at first sight!

Brown and dark blue, and dark blue and gold, are three colours that all go together beautifully, and here they were, all combined together into a single entity! I knew at once that this was the pen for me, and that I absolutely had to get my hands on one by any means necessary! I always told myself that if I did ever get a Pelikan, then it had to be one which stood out – and boy howdy, did this one ever!

Und so! The hunt begins!

Acquiring the Desired Pen…

I don’t believe in any form of God, higher-power, angels…guardian or otherwise…wizards, pixies, elves, halflings or little people…but for some reason, I always seem to be able to find the best deals on almost anything that I’m looking for, when it comes to adding things to my collection. I guess I’m just obscenely lucky…or patient!

I trawled several online sellers of fountain pens to try and find the best deal for this pen, both locally, and internationally. Every seller which I came across was selling the pen for an absolutely insane price. $800-$1,000+ was the most common price-range that I found…and that didn’t include international shipping and any taxes or insurance that went on top of it! Add it all up and even at the cheapest level, the pen would still cost $1,000!…not a price I was willing to pay! Especially for something that I was going to be buying secondhand – which I would almost certainly have to do, since the pen hasn’t been manufactured for two years!

A conversation with a friend – if she’s reading this, she knows who she is – hey!! – directed my search to a fellow member of a local pen collector’s group on Facebook. He had two such pens for sale! He’d already sold one, and by sheer happenstance, I’d contacted him just at the time when he was thinking of selling the second one!

His price was significantly cheaper than anything that I’d seen anywhere else, even with the cost of postage thrown in! It took me about a week to make up my mind to buy the pen, and it took less than a week for it to be delivered! The benefits of finding a local seller!

The Features of the Stone Garden Pelikan

The Pelikan Stone Garden L.E. fountain pen is a special edition, a variation on the more common Pelikan Souveran M800 line, upon which it is based. As such, it shares all the common characteristics with the rest of the M800, and larger M1000 line from Pelikan.

Piston-Fill Mechanism

One of the reasons why I started getting interested in Pelikan pens is because, much like their sibling, Montblanc (you know, the younger brother who was always hotter, cuter, more popular at parties, and more famous among all your friends…!), large-sized Pelikan pens are all piston-fillers. This means that they have an internal mechanism that draws ink up inside the pen, using a screw-actuated piston-mechanism inside the barrel, operated by the knob (or “blind cap”, to give it its proper terminology) at the back end of the barrel.

For those who might not be aware of this – Pelikan actually invented the piston-fill fountain pen! So if piston-fillers are your thing, then you have Pelikan to thank for their existence!

The piston-filler on the Stone Garden is EXTREMELY smooth. It requires no effort to fill or empty the pen, and exactly five turns of the blind-cap is all it takes to complete either operation with no issues at all.

Another feature of the M800 and M1000-series of Pelikan piston-fillers is that these pens, unlike the lower-grade, 600, 400, 200 etc, series, come with a brass piston-filling mechanism…as opposed to the cheaper, and less robust plastic mechanisms used in Pelikan’s other pens.

Of course, that’s not to say that the plastic piston-mechanism aren’t as good, but when you’re paying for something like a limited edition collectors’ piece, you want a filling mechanism that’ll last as long as the rest of the pen does!

Removable Nib-Unit

Another feature of the M800 series (and indeed, all Pelikan pens) is the ability for Pelikan nibs to be swapped out for other nibs! This is easily done by gripping the nib and feed together in your fingers, and carefully unscrewing the whole section. The threaded feed and collar, with the nib included, then simply slides out once it has been unscrewed the appropriate number of times.

To change nibs (for writing preferences, or to replace a broken or damaged nib), simply screw the replacement nib-unit back into the pen! Hey presto! Of course, it has to be a nib-unit from an identically-sized pen! An M1000 nib won’t fit into an M800, and M600 won’t fit into an M1000, and so-on. Be sure you know the size of your pen and be very specific when searching, or asking for, a replacement!

I swapped out the nib in my Stone Garden from a Broad Italic down to a Fine, simply because European nib-sizes are quite generous and juicy, and I wanted something that wasn’t too wet that would flood my writing, bleed through the paper, and feather across the page during one of my long-haul writing marathons!

Another fantastic benefit of the removable nib-unit is that it makes the pen extremely easy to clean! You can literally unscrew the nib and feed, pull it out, pour out all the ink, wash everything out incredibly thoroughly – and then simply screw it back together again!

Ink-Window – Or Lack Thereof…

This is, probably, the only strike that I have against the Pelikan M800 Stone Garden – the lack of an ink-window, a feature that almost all regular Pelikan pens have…but which this limited edition, owing to its method of construction, does not.

The ‘Ink Window’ is the name given to the transparent midsection of the barrel, just above the section. You often find it on piston-filling pens, and it’s a convenient way of telling how much ink is left inside your pen. On Montblanc and Pelikan pens, the ink windows are discretely worked into the decorations and body of the pen barrel, which means that they can perform their functions without sticking out like a sore thumb.

While this pen does not have an ink-window, somehow, I think it looks better without it. An ink-window would disrupt the nice blue-brown contrast between the section, barrel and blind-cap at the end of the pen.

The Pelikan Stone Garden: First Impressions.

The pen is very neatly presented, and packaged, in a cardboard “PELIKAN” box, and wrapped in a white, leatherette sheath held shut by a dark red elastic band with a red disc on it. The whole design gives the impression of a scroll tied up with ribbon and held shut with a seal of red wax, with the pen nestled neatly inside. It’s a big departure from how many other pen manufacturers package their merchandise, and it really stands out!

The pen is light, and comfortable to use. It’s medium-sized and is similar in length, girth and weight, to the Montblanc 146 ‘Le Grand’ model. The section threads allow the cap to be removed easily and cleanly, without exerting too much force or having to twist endlessly to find the end of the thread. Three quarters of a full turn is enough to remove the cap.

The clip on the cap is flexible, but strong, and the filling mechanism is extremely smooth and easy to use. The cap may be posted on the end of the barrel, and sits very securely, with no wobbling or loosening over time, while you write. The gold-trimmed cap-band reads: “PELIKAN SOUVERAN GERMANY”, referring, of course, to the company name, the product line, and the country of origin.

The Pelikan Stone Garden: Writing Experience.

As with most of Pelikan’s higher-grade fountain pens, the Stone Garden comes complete with an 18kt two-tone nib with decorative looping, and the “Pelikan and Chick” logo set in yellow gold. The nib is marked “18c – 750”.

The pen wrote wonderfully smoothly, with a good, strong, consistent line, most definitely on the ‘wetter’ side of the spectrum – a characteristic of European pens, which always seem to be more generous in their ink-flow. There was no skipping, hard starting or any other issues that sometimes plague other pens, and first, and subsequent impressions, continue to be very favourable.

Pelikan Stone Garden: Size, Weight, Balance, Feel.

The pen felt wonderfully light in the hand, but not unsubstantial, or otherwise indicative of being poorly made. It’s definitely an excellent pen for substantial writing, involving pages and pages of longhand cursive.

Even with the cap posted, the pen is well-balanced, and there’s no sensation that posting the cap might encourage the nib to lift away from the paper. The pen is fairly large, but comfortable to hold in the hand, without the fingers becoming too crowded around the section. All in all, a very pleasant writer.

Concluding Remarks

All in all, I think the Pelikan Stone Garden is an excellent pen, well worth any amount of money that someone might spend on it. It’s attractive, comfortable, has a large ink capacity, and solid inkflow. The pen’s filling mechanism is smooth and easily operated.

The unusual colour choices for the cap, section, blind-cap and barrel make the pen unique, and it stands out from the crowd, without being tacky, conspicuous, loud, or excessively showy.

The pen fills and empties easily, is very simple to clean and maintain, and all up, makes for a very pleasant writing experience. All up, the Pelikan M800 ‘Stone Garden’ is a worthy addition to any serious collection of fine writing instruments.