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!
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!
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.
If you visit any decent department-store or online retailer, watch-shop or jewelry shop, there’s no end of variety when it comes to boxes, cabinets and cases in which to store your jewels, cufflinks, earrings, necklaces…and watches!
For the avid watch-collector, a watch-winder or watch cabinet to store your wristwatches in, becomes an absolute necessity when your collection grows to beyond three pieces. If nothing else, the empty spaces in the cabinet serve as incentives to buy more watches!!
Back when it was common for men to carry pocketwatches, jewelers and retailers, watchmakers and tobacconists used to sell all kinds of pocketwatch accessories. Fobs, chains, cabinets, and cases. They also used to sell individual pocketwatch stands where you could put your watch when you weren’t wearing it. These might sit on your desk, so that your watch could double as a desk-clock, or else, on your bedside table, where you would place your watch before going to sleep each night.
Pocketwatch stands are still manufactured today, and you can buy them easily online, but for an antique pocketwatch, the best thing to store it in when you’re not wearing it is an antique pocketwatch stand!…and that’s precisely what this posting will be about.
The Watch-Stand: A Closer Look
The stand was made by the Birmingham firm of Syner & Beddowes in the early 1900s, making it well over 110 years old. It’s made of wood, clad in a paper-thin leather veneer. The interior was originally bright green silk and felt, padded out with panels of wood and cardboard. The front of the stand is faced with a panel of sterling silver.
Stands such as this were common in the late 1800s and early 1900s. They came from huge ones for massive, eight-day “goliath” pocketwatches, all the way down to tiny dinky little ones, for ladies’ pocketwatches. They would’ve been purchased from any watch-shop or jeweler’s shop which catered to a discerning clientele.
Why Restore the Case?
I wanted to try and restore the stand for a number of reasons. First, they’re getting pretty rare these days, so throwing it out wasn’t an option. Two, it wasn’t too badly damaged, and it looked repairable. Three, I wanted somewhere to put my watch when I wasn’t wearing it!
Nobody makes watch stands like this anymore, and sure as hell, nobody is making a living out of restoring them, so the only option if I wanted to use the stand, was to fix it myself.
Restoring the Watch Stand…
After deciding to take the plunge, I went to get all the tools I needed: Files, sandpaper, a chisel, pocketknife, glue, etc, etc. And then, the first stage began.
Step ONE: The Teardown
A ‘teardown’ is restorers’ jargon for the disassembly process. It’s usually called a ‘teardown’ because that’s literally what you’re doing – ripping the item apart, and getting rid of any old pieces that can’t be used anymore. While it is fun to rip things apart, you do have to exercise caution. On an object this small and this old and fragile, any overexertion or undue eagerness could destroy the stand forever, and render it irretrievably damaged.
The first step was to remove the ring inside the base of the stand, which holds the pocketwatch in place. This had at least two big rips in it, which meant that it no longer held its shape (and therefore, was unable to hold a watch). The ring was simply glued in place, so it was pretty easy to just grab it and carefully peel it out. When I removed it, I was surprised to find that it was comprised of exactly one piece of green felt which had simply been folded over a stiff, cardboard ring…and simply glued in place! No wonder it didn’t last!
The next step was to remove the circular pad of green felt underneath the ring. This also, was pretty easy. Underneath this, I found several cardboard discs, which had been used to pad out the watch-stand, and to stop any watch housed inside, from rattling around. for something so small and narrow, there were a surprisingly large number of these cardboard discs inside! Up to half a dozen or more!
The next thing to remove was the felt-covered wooden base which the ring, the cardboard discs and the felt liner, all rested on, or in. This was somewhat more difficult, as it was glued very firmly into the back of the watch stand! If I exerted too much force, then the whole thing would break apart. Using my pocketknife, I slowly jemmied away the base from the back of the stand, cutting and levering up, slicing away the glued-down cardboard and crusted glue and wood, until the whole piece finally popped out as one.
Step TWO: Building a New Base.
Using the old base as a guide, I cut out a panel of plywood, chiseled and sanded it to the right size, and then covered it in blue cotton fabric which I glued down over the wood. I folded everything over, trimmed off the excess, covered the raw edges with another piece of the same fabric, and then glued it on.
Putting the new base into the stand was surprisingly easy – just shove it in. The friction alone will hold everything in place! Before doing this, however, I took advantage of the stand’s now relative lack of structural integrity to replace the ribbon strap that originally ran from the inside of the back of the stand, out the back of the case, and which attached to the backside of the prop-stand that juts out from behind the stand. This strap allows the watch stand to…stand up…and lean back at a slight angle. Without it, the prop just slides open and the whole thing topples over. This was a very easy fix, using some ribbon and glue.
Once that was done, I started rebuilding the ring that fits on top of the new, blue base!
Step THREE: Replacing the Ring.
Replacing the ring was of paramount importance. It had to hold the watch in place, and it had to stop it rattling around (something that the old ring couldn’t do because of its poor condition and flimsy construction). So for this ring to last, it had to be made of the most solid materials possible.
I used a piece of PVC drainpipe.
Our house had been renovated fairly recently, and the builders had left behind several sections of unused drainpipe. One of these was precisely the diameter that I needed for the watch-stand. Now, it was simply a matter of measuring the right dimensions, cutting off a section, sanding it to the right size, and fitting it in.
To hide the fact that I used a plumbing fixture to fix a 115-year-old antique, (“We found a witch! May we burn him!?“) I wrapped it in the same blue fabric I’d used for the base. I glued it all in place, trimmed off the excess, and then simply folded in the raw edges. To secure all this to the base, I dropped in one of the cardboard liner-discs from earlier (see step one, above), which I had also covered with the blue fabric.
Because the pipe was precisely the right diameter, the cardboard disc dropped in exactly as I wanted it to. I deliberately used the thickest, most structurally intact disc I could find. Then it was simply a matter of covering it all in glue, putting it together, positioning it very carefully over the center of the base, and sticking it all down!
Step FOUR: Replacing the Strap
The stand originally had a silk ribbon strap that ran from inside the back of the stand, and which attached to the back of the prop that holds the stand upright when it’s in use. You could still see the little slots and grooves where the ribbon used to fit in. Finding some thin, black ribbon to replace this was pretty easy. It was just a matter of measuring out the right length, and sticking it down.
Step FIVE: Tidying Up
The final step was gluing down all the loose bits and pieces, polishing the silver and the leather exterior, and then putting in the watch! The results speak for themselves:
Not a bad result for trying to fix something that’s over a hundred years old, and especially for being as fragile as it is!
I purchased this last week, as a slightly late birthday treat for myself – it’s been a long time coming, but it’s finally arrived – a piece that I’ve been trying to find for nearly a decade to add to my collection! With its addition, I can finally say that one part of my pen collection has finally been completed!
The Backstory – And a Very Long Wait
Writing has been my greatest hobby for as long as I can remember. In one form or another, I’ve been writing for nearly 30 years. I find it fun, and relaxing. I love the freedom to literally create whatever I want – characters, settings, scenarios and ideas, story-arcs and adventures of almost any possible…or even impossible…description. Nobody can tell me that it’s impossible, or ridiculous, or stupid, or that it can’t be done, and you’re only held back by your own imagination.
My deep love of writing meant that, from a very young age, I always had a great interest in fine writing instruments. Fountain pens have been my weapon of choice when it came to the physical act of writing, ever since I was seven, and ever since then, I have barely touched a ballpoint.
Along with writing came my equally fetishistic love of history and antiques! This meant that, alongside fountain pens and dip pens, I soon developed a fascination with writing accessories and desk accessories – inkwells, blotters, letter-openers, bill-spikes, pen-cleaners, and any other strange, weird, whimsical doohickeys which I could use to make my writing experience more enjoyable.
I don’t remember exactly when I started getting interested in the famous Montblanc No.149. I was a teenager when I first spotted it, and decided that I wanted one! It was my dream throughout my schooldays to have one. That said, anything Montblanc is expensive, and being a simple student meant that there was no way I could afford one – certainly not at retail prices!
I spent years reading and researching, looking at photos and watching videos and auctions. Even when one did show up, I was always outbid, so I never thought that I’d be able to own one.
The Montblanc Meisterstuck No.149 “Diplomat”. Arguably the most famous fountain pen in the world.
That is until last year, when I scored a Montblanc 149 in a box lot of other pens (all of which I’ve now sold). Out of this treasure trove, I kept the 149 as my prize! While the price for the box of pens was fairly high, it was still less than half the price of a brand new 149, so you can imagine how cheap the pen was, once you averaged out the cost among all the pens in the box!
Being no fool, naturally I examined the pen on an almost atomic level before bidding on it, to make sure that it was real. Montblanc products are among the most faked items in the world, alongside luxury handbags and Rolex watches!
The Montblanc No.149 Matching Desk Set
During all my years of looking at what fellow collectors have jokingly described as “pen porn” on the internet, I was made aware of the fact that the Montblanc No.149, as famous as it is, was only one part of a larger set of items! This was when I discovered that there was actually an entire set of desk accessories that went along with the pen, and that they were all designed to match.
Given how long it took to buy the pen, I didn’t have any great hopes that I’d also be able to buy the set that goes with it. However, I managed to score both the inkwell, and the desk-pen base relatively easily – not something that I was ever expecting! They were being sold secondhand, and I was able to get them for a good price.
The Meisterstuck Inkwell
The next piece to add was the blotter. Or, at least, I could dream about adding the blotter, because even a cursory glance at all the various eBay listings told me that it would cost a small fortune! Even at its cheapest, it would still be several, several, several hundreds of dollars, and many times, it was well over $1,000!…and that didn’t include extremely high postage-costs due to overseas shipping! Not even a secondhand No.149 cost that much! The more I looked at it, the more I began to think that perhaps this was a piece that I’d never be able to get – the chances of buying one for under $1,000, or even under $500, seemed impossible!
As my latest birthday approached, I started browsing eBay rather absent-mindedly, wistfully looking at all the stuff on sale, and typing in just random combinations of words to see what would pop up on the screen – stuck in lockdown over the coronavirus, I didn’t have much else to do! And it’s fun to see what kinds of things you’d like to have as a birthday treat, even if you can’t afford them, right?
The Meisterstuck desk-pen stand for the Montblanc No.149 fountain pen.
That was when I spotted, by pure chance, a group-lot of vintage Montblanc items up for sale. For some reason, the wording of the listing meant that it had never popped up in any other search until now. I clicked on it just out of curiosity. The opening image in the listing was very misleading, which is probably why I never noticed it before, but when I realised that part of the lot was the blotter that I’d wanted for so long, I started paying much more attention! The asking price was fairly high, but pretty reasonable, for a group-lot of Montblanc things! Just one of the items in that lot sells for $1,000 brand new! Out came the calculator, and I started number-crunching to see just how much of a bargain all this stuff might be, and whether it was really worth it!
It took me all of half an hour to decide that it was a worthwhile price. When I realised how many other people were checking out the listing alongside me, I decided not to wait! I knew that it’d be years before another chance like this ever came along again, so I bought it, as a birthday treat for myself!
Yes, the price was fairly high, but I consoled myself in the fact that I could sell the other items in the lot for a healthy profit, and keep the blotter for my collection.
How Old is the Montblanc Meisterstuck Desk Set?
Honestly, I don’t know. I haven’t found any solid documentation giving me start and end-dates. I believe that this particular style of desk set was manufactured in the 1990s, based on what little information I could find, but that’s about it.
Is this the only type of Montblanc desk set out there?
Oh, certainly not! There’s at least five, which I’ve been able to identify. Their details are below:
First, there is the solid glass “Lalique” set, with inkwell, blotter, and pen stand, made of beautiful cut glass, and which is named after the famed French glassware designer, Rene Lalique.
Next comes the black resin and acrylic “Meisterstuck” set with goldtone trim, which is designed to match the look, styling, and materials of Montblanc’s most famous pen – the Meisterstuck No.149. This is the set that I’ve been collecting.
The third set which I’ve identified is the sterling silver “Solitaire” set, with an inkwell, pen-stand and blotter, which is identical to mine, but with one major difference – that the trim is sterling silver and gold, instead of black resin and gold. It’s quite striking, actually!
There’s a black resin and polished brass set from, I believe, the 1960s or 70s, which I’ve seen at various places online, and finally, there’s also a set covered in black leather, which is Montblanc’s latest offering when it comes to desk accessories. The various elements for this set are currently available from the Montblanc website (and other, Montblanc-affiliated dealers and stockists).
The sets are not all consistent, and there are minor differences between each one, in terms of what’s included in them, the finishes, and shapes and styles. These are all the Montblanc desktop accessories sets which I’ve been able to identify. There may be others out there which I’m yet to see, but those are all the ones which I’ve been able to definitively identify.
So, is your set complete?
Believe it or not – but – no! The full set is actually five pieces, not four!
The last piece is a matching paper-knife or letter-opener, again in black resin, clear acrylic and gold-plate. However, in all my years of hunting and searching, I’ve never seen it! I’ve never seen it on eBay, I’ve never seen it at auction, at flea markets, pen shows, pen shops…I don’t even know anybody who owns one!
The only reason I know it exists is because I saw it included in a photograph of the full and complete desk set in a very old auction listing online somewhere, but I’ve never seen it for sale. It seems to be something so rare that nobody has one, “not even for ready money!”, as they said in ‘The Importance of Being Earnest‘.
The last time I saw a Montblanc-branded paper-knife of any description for sale on eBay, the asking price was over $1,000…for a paper-knife…and it wasn’t even the one that goes with my set! So, I don’t think I’ll ever be adding one to my collection…not that I’d use it, even if I could, so it’s probably just as well!
The Montblanc Meisterstuck Rocker Blotter – A Closer Look
Since the blotter is such a rare item, I thought it’d be good to write about it in detail, and try and give as much information on it as I can, for anybody else out there who might be trying to buy one! I’ve never been able to find very many detailed photographs of the blotter, and like I said earlier, there’s almost no information about it online anywhere!
I guess that’s what happens when something’s as rare as this. But first…
What is a Rocker Blotter?
If you watch a lot of period dramas, old movies, or if perhaps you’ve visited the museum-homes of famous authors, then you might’ve seen one of these things sitting on a desk somewhere. They used to be extremely common.
The glossy, black resin upper section of the blotter.
The purpose of a blotter is to soak up or absorb excess ink on a written page by a fountain pen or dip pen. Since these pens use liquid, water-based ink, it may take some time to dry – especially if the paper is not especially absorbent, or if the line laid down is particularly wet or broad (for example, in various styles of calligraphy). In instances where you can’t, or don’t want to wait for the ink to dry naturally, you rock the blotter back and forth across the wet ink to dry it faster. The excess ink is absorbed by the sheet of blotting-paper affixed to the underside of the curved blotter base, and the writing on the page is now dry.
The underside of the blotter (without paper inserted), showing the transparent, acrylic base.
Blotters were extremely common throughout the Victorian era, and lasted well into the 20th century. The heyday of the blotter ended in the 1950s when ballpoint pens started replacing fountain pens, but there are still plenty of companies out there which manufacture blotters, and there are many craftemen and woodworkers who produce them for people looking for brand-new rocker blotters for their desks. Apart from modern luxury blotters like those made by Montblanc, the J. Herbin ink company also manufactures blotters and blotting paper.
Anyway, back to the Montblanc blotter…
The blotter, like the inkwell and pen stand, is covered in Montblanc’s well-known, glossy black resin – the same substance used to make its famous pens. The edges are trimmed in gold plate, and the main body, or base of the blotter is smooth, transparent acrylic, much like the pen stand, and inkwell.
A side-view of the blotter, showing the acrylic base, the resin top, and the two, raised, gold-tone decorative lines that run along the sides.
The slip of blotting paper that fits underneath the blotter is cut to size, and then folded and slipped into the two tabs or ridges on the ends of the underside of the blotter, and are simply held in by friction. In this instance, it’s better to use thicker, or double-folded blotting paper, rather than thinner paper, since thicker paper will hold more securely.
The blotter, with paper inserted. The folded ends of the paper simply tuck inside the tabs at each end.
I want one! Where to Buy!?
Oh boy…
Getting a set like this is not easy. And not just because of the potentially, very high prices involved.
No.
The reasons why it’s not easy (difficult, but not impossible) are because of the following:
One – the set was a limited edition. My research says that they were only made for about 10, maybe 15 years. So that means there’s a limited number out there. This set is no longer manufactured by Montblanc.
Another reason is that this roughly ten-year gap was at least twenty years ago, in the mid to late 80s, up to the late 1990s. So if you want to buy the set, you have to buy the pieces individually, and they’ll all be secondhand.
Thirdly – because the set is vintage, and a limited edition, the prices could be extremely high. I’ve seen asking-prices on eBay for the various elements of the black resin and clear acrylic desk-set, of over a thousand dollars…for EACH piece. And while I don’t doubt that they might possibly be worth that (or something close to it), due to their age and relative scarcity, it’s a lot of money for most people to cough up, and that also makes them tricky to find.
The one good thing about these desk accessories is that, unlike the pens – nobody is faking these. They’re so rare that the chances of finding a genuine one to use as a model from which to make fakes, is very difficult, so, given their rarity, you can be sure that if you find one on eBay, or elsewhere, that it will be the real deal. Provided that the price is something you’re willing to pay, you can buy them with confidence, which is not always the case with Montblanc pens, which are among the most faked items in the world.
The glamour-shot with all the pens and trinkets lined up!
I love antique whistles. They’re such fascinating little devices, and they’re proof that just because something is an antique, doesn’t mean that it has to cost a fortune.
I’ve been collecting antique whistles for years, and have a small collection of whistles at home, which range in age from anywhere from 70 or 80 years old, up to over 100 years old. I’ve never been an active collector, but if I see one lying around that I don’t have, and which is in good condition for a good price, I tend to add it to my collection if the opportunity presents itself.
The latest addition to this small area of my much larger, overall collection, is the subject of today’s posting.
Why Collect Whistles?
Antique whistles are infinitely fascinating. They’re symbols of how times have changed, how work has changed, how technology has changed and how manufacturing has changed, over the last few hundred years. They come in an almost endless variety of styles and finishes, and all these variations tell their own little stories – they are pocket-sized pieces of social history…that you can play around with…and unlike most antiques…are so robust that you almost never have to worry about breaking them!
Before the days of mobile phones, portable radios, walkie-talkies, megaphones and all the other handy dandy electronic communications devices that we take for granted nowadays – whistles were the only way that people had to communicate over long distances, or under adverse or busy conditions. This is why they were so incredibly common, and popular.
Whistles were common in a wide range of occupations and professions. Ship’s officers carried whistles to pass orders. Railroad workers carried whistles to signal to other staff and locomotives. Cyclists used to carry whistles on them to warn pedestrians when they were coming through. Policemen carried whistles to call for backup, postmen carried whistles to alert people when they had mail to collect, prison guards carried whistles to maintain order inside prisons, and orderlies in mental hospitals carried whistles to warn of patient riots. During World War Two, ARP wardens carried whistles during air-raids, and during both world wars, army officers carried whistles for issuing commands on the open fields of battle.
In many occupations, there were strict regulations regarding the use and care of whistles. For example in many police forces, whistles had to be clipped to the uniform by a chain so that it could be easily retrieved. In the postal services, whistles that were handed in when a postal-worker retired, had to be sterilised in boiling water before they could be re-issued to new staff. How whistles were used in these various professions were also regulated – how many whistle-blasts were used, what they signified, and under what circumstances they had to be used.
It’s all these varied uses that make whistles so collectible, and manufacturers produced whistles with all kinds of markings, stamps and labels on them as a result. That means that just one standard type of whistle might have dozens, or even hundreds of different markings, depending on which company or entity had ordered the whistle. It might be marked for police use. Or army use. Or postal use. Or use in a hospital, or prison. Or for any other myriad of purposes. Whistles with rare or unique stamps or marks on their barrels are more valuable, and they’re a useful way of trying to determine a whistle’s age.
How old is This Whistle?
This whistle dates to the turn of the last century, which makes it roughly 120 years old. It’s solid brass, and was once plated in nickel. It’s marked:
“THE CITY WHISTLE – PATENT”.
Underneath, is the additional marking:
“ARMY STORES – MELBOURNE”
And finally, it has the country-of-origin markings:
“MADE IN ENGLAND”
Antique whistles are usually extensively marked, and this is good, because it means that they’re very easy to research. Every major manufacturer had their own marks, stamps and trademarks, which were all used at various times throughout history. These variations – which can be something as simple as the formatting, the style of lettering, the size of lettering, or even the orientation of the lettering – can all be used to identify the whistle’s age and manufacturer.
In this case, “THE CITY WHISTLE” with the first two words curved, and ‘WHISTLE’ straight, with “PATENT” underneath – indicates that the whistle was made by the Birmingham firm of Alfred DeCourcy & Company, which was the main competitor for much of the 1800s and early 1900s, to the more famous Joseph Hudson & Co whistle manufactury…or it was, until Hudson & Co bought them out in the 1930s.
Changes in manufacturing processes and little style details also indicate the whistle’s age. Concave cap-loops, and variations in how the mouthpieces were formed, are further indications of the whistle’s age. This whistle was made between 1900 – 1910.
Is it a Rare Whistle?
Probably, yes! It was made by a lesser-known manufacturer, and for a small client, in a far-off country. On top of that, it’s over a hundred years old. All these factors would increase the whistle’s rarity, and presumably, it’s collectible desirability – it’s the rare whistles with uncommon markings that ardent whistle-collectors really want, due to the sheer uniqueness of them.
So…does it work?
Yes! Yes it does. Or it did, once I tweaked it a bit and got it working again.
Despite their apparently simple, tubular construction, these old whistles were very carefully manufactured. Inside the barrel is a flat diaphragm which splits the barrel lengthwise into two chambers. At the mouthpiece-end of the diaphragm is a circular endpiece that stops just below the bottom of the two sound-slots at the bottom of the barrel. There are two tiny semicircular gaps between the edges of the round endpiece inside the barrel, and the interior of the barrel and sound-slots.
It’s through these two gaps that the air passes when you blow on the whistle. Air passes through the mouthpiece and through these two gaps. It’s the passage of air which creates the trill, rippling, warbling, two-toned sound of the whistle.
…which won’t be produced if these two gaps are clogged or sealed up in some way! To fix it was a simple case of clearing out the gunk inside the mouthpiece and around the vent-holes using a pin, and levering out any dents around the slots using a flathead screwdriver and gentle pressure. Once the sound-slots near the holes had been opened and cleared sufficiently, the air could flow smoothly through the whistle, which meant that it could sound exactly like how it should!
Despite restrictions and lockdowns, quarantine orders and masking-up, it is nice to still be able to attend auctions…even if, nowadays, they have to be done at home…through a screen…and online…instead of going out in-person to view the items you want to buy.
Nevertheless, it is still possible to score some amazing stuff online – like the latest addition to my fleet of Montblanc paraphernalia!
If you’re a regular reader of this blog, then you’ll know that one of my longest-lasting loves has always been for fountain pens and fine writing accessories. It was to this collection that, just before all this virus-stuff started, I added the Montblanc inkwell, and about which I had created a post of, just a couple of months ago:
Well, today we celebrate the recent (a few weeks is ‘recent’, right?) addition of the second piece of that collection: the matching desk-pen base!
What is a ‘Desk Pen’?
A desk pen (which can be either a ballpoint or a fountain pen), is a type of writing instrument which, instead of having a cap to protect the writing point, has a base or stand, into which the pen is placed. The base is kept on the user’s desktop, where it will always be available for use at a moment’s notice. Usually, such stands and pens exist to serve decorative purposes – they show off the owner’s taste in writing instruments, as well as displaying the quality of the writing instruments which they can afford.
Desk pens have a long history, and date back as far as the 1910s and 1920s, when fountain pens were first entering the mainstream consumer consciousness. Pen companies such as Parker, Sheaffer, Wahl-Eversharp, Pelikan, etc, manufactured desk-pen sets for executive types – CEOs, business-owners, lawyers and high-flying professionals, so that they could place them on their desks in pride of place in front of their customers and clients.
100 years later, and not much has changed, really! Desk pen sets are still manufactured (although in smaller quantities, and at much higher prices), and they’re still being sold, and people still buy them for exactly the same reasons as they were purchased in the 1920s and 30s – to show off, and to have a pen conveniently at-hand whenever one was needed. You know, for signing that big fancy contract, business-deal, or legal document, and all that jazz!
The Montblanc Meisterstuck Executive Desk-Pen Set
Naturally, a company such as Montblanc has to have at least something to offer, when it comes to desk-pen sets…and so they do!…or rather, did!
Made of clear acrylic and polished, black resin, the Montblanc Meisterstuck desk-pen stand, or base, is designed to match the resin and acrylic body and the gold detailing of the similarly square-shaped Montblanc inkwell, in the same line. It’s also designed to match the classic, black and gold styling of the Montblanc Meisterstuck 149 fountain pen – which the sconce at the top of the stand is designed to hold; the sconce even has “MONTBLANC-MEISTERSTUCK-149” on the gold banding. It’s basically a 149 cap with the finial removed, and replaced with the ball-and-socket swivel joint to attach it to the heavy, acrylic base beneath it.
Maintaining an angle of 45 degrees, the stand holds the 149 up loud and proud for everybody to see. The pen can simply be rested inside the cap, and rely on gravity to hold it in place, or it can be screwed in, like an ordinary pen-cap, for added security.
Here, we see the base, along with the pen that’s designed to fit into it. It’s a convenient place for a 149-owner to park their pen on their desk, without worrying that the pen is going to roll off the side of the table when you’re not looking – while also having the pen near-at-hand when you need it, without having to dig through your briefcase, desk-drawers, or your coat or jacket pockets to find it.
One thing I didn’t know about the stand before I bid on it was the fact that while the sconce swivels around on the base from side to side, it doesn’t have a full range of movement – for example, you can’t adjust it so that it sticks straight up, nor lies down flat – it always remains at an angle of 45 degrees. While this doesn’t really bother me, it was a surprise, in as much as it would make the stand more tricky to pack or store, if for whatever reason, I ever had to put it away somewhere, or box it up. It also means that it’s more susceptible to damage. It’s a bit of a design-flaw, if you ask me, but that quibble aside, I’m still glad that it’s the latest addition to my collection of Montblancs.
I stumbled across these on an online auction site while bidding on some antique silverware. I’d never seen anything like them before, they were in very good condition for their age, and the price seemed reasonable, so I bid on them. I was very excited to win them and add them to my trove of treasures, and they now form part of my collection of antique cufflinks!
The silver cufflinks with the Scotch coat of arms on the front.
These antique ‘torpedo-style’ chained cufflinks, typical of the 1920s and 30s, are sterling silver with blue enamel on the front.
Normally, I don’t collect silver cufflinks, but I made an exception for these, because the face of the cufflinks depicts the crest of Scotch College, in Melbourne – my old highschool. Since I went there for so long, I decided that it’d be a nice little touch to buy them as a memento of my school-days.
The Coat of Arms on the Cufflinks
The coat of arms on the cufflinks is for Scotch College, a private boys’ school in Melbourne. Established in 1851, it’s the oldest school in the state, and, I think something like the…third oldest…school in the entire country.
The coat of arms is quartered by the Scottish Cross of St. Andrew on a background of blue. The quarters depict the Royal Crown representing Australia’s links to the British Empire, the Torch of Enlightenment and Education, the Southern Cross constellation, the Olympiad rowboat with its sails furled to indicate determination, and the Burning Bush (above the crown) to symbolise the school’s religious background.
The blue banner at the top has the Latin motto “DEO – PATRIAE – LITTERIS” (For God, for Country, for Letters). When the school was founded in 1851, the original motto was “DEO et LITTERIS” (“God and Learning”). This was ‘updated’ in 1914 with the start of the First World War, when the motto was changed to the current version, with the addition of “PATRIAE” during such a momentous time in international history.
The complete coat of arms, with the three-word motto and the quartered shield and bush were finally joined together and became the new school coat of arms in 1924.
What is ‘DAMMAN’S’?
Damman’s Tobacconists and Jewelers. Cnr Swanston & Collins Streets, Melbourne. 1954. (Image from SLV)
“Damman’s” was the name of a tobacconist’s shop and jeweler’s on the corner of Collins Street and Swanston street in Melbourne. Established in 1854, at the height of the Melbourne gold-mining boom, the shop lasted for at least 100 years, and was operated by at least two generations of the Damman family. Doing bulk custom-orders for specialised clients (such as these cufflinks for the school) must’ve been a big part of their business, because these aren’t the only Damman’s branded Scotch-related memorabilia which I have in my collection.
How old are these Cufflinks?
My guess is that they were made between the mid-1920s to the late 1930s. There’s a number of clues and indicators that point towards this.
The back of the cufflinks, showing the ‘torpedo’ toggles and the chain links.
First, the school coat of arms was adopted in 1924. So they can’t be any older than that. Second, I know that Damman’s was still producing Scotch-badged memorabilia in the mid-1930s (the cigarette lighter in my collection is from 1932). Thirdly, the cufflinks are chained cufflinks – very common in the Victorian era and the early 20th century…but which started to decline heavily in popularity in the decades after the Second World War.
Such cufflinks would have been unlikely to have been made during the war, and look too old-fashioned for postwar, 1950s construction, leaving a small window of about 15 years in which they could’ve been manufactured.
Does the School Still Sell Stuff like This?
Most definitely! Mugs, shot-glasses, tea-towels, books, clothing, and – yes, even cufflinks – are still sold by the school. They’re purchased from the school’s campus shop, or are offered to students for purchase as part of their graduation-memorabilia package, when they leave school at the age of eighteen.
As winter starts to bite down south, and the rain and wind and snow starts to increase dramatically, it’s time to start breaking out your winter wardrobe and trying to decide what to wear…or if you don’t have anything to wear…then trying to decide what to buy, so that you can wear it!
In this posting, we’ll be looking at the history behind various coats, overcoats and jackets which have been worn by men throughout history, and which have entered popular fashion as wardrobe must-haves, even in the 21st century. We’ll be looking at where they came from, what features they have, and what to look for if you want to buy one, and what sets them apart from each other.
I won’t be covering this in any particular order, so you might need to scroll around a bit, if you want to find the jacket or coat that you’re really interested to know more about. That said…let’s start!
The Peacoat
The peacoat is one of the most common types of short overcoats that exist on the market today. They’re thick, fluffy, warm, stylish, and they’ve been around for centuries! So…what is a peacoat?
Peacoats were created in the Netherlands in the late 1600s or early 1700s. The original Dutch name was the “Pijjekker” – where ‘Pij’ (pronounced ‘pea’) referred to the thick, water-repellent wool cloth from which the ‘jekker’ (‘jacket’ or ‘coat’), was made. This original Dutch spelling and pronunciation eventually entered the English language as Pea-jacket or, as is more common today – peacoat.
Peacoats were created by the Dutch specifically for seafarers. The coat’s thick, soft woolen fabric kept rain and sea-spray off the body, kept the under-clothes dry, and kept the sailor warm. Because of these properties, the peacoat was adopted by the English for use in the Royal Navy in the 1800s, and later on by the American Navy in the late 1800s-to-early-1900s.
As a result…there’s MILLIONS of military-surplus peacoats out there!
So, what does a peacoat look like?
A classic, eight-button peacoat with slash pockets and epaulettes. The eighth button is hidden under the fold of the lapel, and would’ve been used to button up the ulster collar when required.
Traditionally, a peacoat is…of course!…navy blue. You can also find them in black (and some navies did make them in black, because the blue tended to fade over time), or even in grey, but navy blue is the most traditional colour.
A peacoat is a short to medium-length overcoat. The skirt or hem stops at upper-or-mid thigh level, and typically goes no lower. It features double-breasted button closure, usually, with eight buttons.
Today, it’s really common to find peacoats with six button closures…but traditional models always had at least eight, sometimes even ten, buttons. In my opinion – a peacoat that doesn’t have at least eight buttons is not a peacoat – for reasons that I’ll get to in a minute.
Along with the buttons, the peacoat also had a lot of pockets. Most peacoats will have four pockets – two inner liner-pockets, and two outer ‘slash’ or ‘storm’ pockets – diagonal or vertical hand-warmer pockets in the sides of the coat. Some REALLY old versions of the peacoat, dating back to Edwardian, or even Victorian times, had even MORE pockets. These aren’t as common today, but if you hunt around, you can find versions of the peacoat which have SIX pockets – the two inner liner ones, the two slash pockets, and then underneath them – two extra flap-pockets. They’re a nice touch, but they’re not very common today.
Peacoats also have sleeve-cinchers, to tighten the sleeve-holes to stop wind and rain getting inside, and (sometimes), epaulettes on the shoulders. Traditionally, epaulettes were used for affixing rank insignia, so some ‘civilian’ versions may not have them, but if you can get one with epaulettes…hey, they’re cool, OK?
Another distinctive feature of the peacoat is what’s called the ‘Ulster’ collar, which comes from the Ulster district of northern Ireland…where it’s cold…and wet…and windy. The ulster collar is a collar that can be popped up and wrapped around your neck and chest, and buttoned into place!
…you can’t do this if you only have six buttons on your peacoat. They simply don’t reach up high enough.
See what I mean?
It’s because of the ulster collar that peacoats always had at least eight buttons, because you needed them to reach high up enough that you could button the collar across your chest and neck in really inclement, wet, cold or windy weather.
This photograph shows, possibly, the most traditional peacoat style of all – with ten button closure, and the six pockets. Two inside, and four outside. Like I said, they’re hardly ever made today, so if you want one, you’ll either have to hunt really hard, buy it vintage, or get someone to make it for you.
Another variation of the peacoat which is hardly ever seen today (except vintage), is the so-called “bridge coat”. Peacoats were issued to the ordinary seamen. Bridge-coats were issued to the officers. The main difference is that a bridge-coat is knee-length.
Why? Because officers often spent hours standing on the bridge-deck of a ship – which in times past – could be an open deck with no shelter, fully exposed to the elements – so the coats were cut longer to cover more of their bodies. Seamen weren’t given the same cut of coat because they were were required to climb masts and rigging – impossible to do, if you can’t move your knees around because you’re wearing a thick, heavy long coat! So they were given the shorter peacoat instead.
Peacoats are great for when you need a medium-sized, but warm overcoat for bad weather. If they’re made of quality materials, then you don’t have to worry about getting them wet or anything – remember, they were designed to go to sea!
Buying a Peacoat
Finding an original, vintage-style peacoat can be a bit of a challenge today. Your best bet for real vintage styling is to buy an actual military-surplus vintage peacoat. Since they were built for harsh, seafaring environments, they’re very long-lasting. Most modern styled peacoats only have six buttons…which kind of defeats the whole purpose of the peacoat – the reason I like them is because you can button it right up to your chin if you want to – and if you want to be able to do that because it’s rainy or windy or snowing, then the more traditional eight or even ten-button variety, is best.
They should be made of wool fabric (traditionally a style of fabric called “Melton”). The best are 100% wool, but anything that’s majority-wool blend should be fine, too.
The Greatcoat
Another popular style of overcoat is the greatcoat. Originally created for the army, greatcoats are long, heavy, double-breasted, knee-length overcoats. They typically have four pockets (two inside, two outside), and six button closure down the front. Designed to be worn by officers in the field, greatcoats were cut longer so that they would keep their wearers warm during long days and nights out in the open, while on active military campaigns.
You can easily buy army-surplus greatcoats secondhand, and they cost next to nothing. My greatcoat is a dark green, Canadian army surplus from the 1980s and it’s fantastic in cold weather! The wool is thick and VERY heavy, but then, it was designed to deal with a Canadian winter – and it does that very well!
A classic, army greatcoat. As with the peacoat, you may find that yours has epaulettes on the shoulders, again for holding rank-insignia badges.
Buying a Greatcoat
Greatcoats are VERY easy to find. Any decent military-surplus or army-supplies or secondhand store, is likely to have loads of them! Just be prepared for how HEAVY they are! Since they were designed to be worn outdoors for long periods of time, greatcoats are made from very heavy wool fabric, and since they reach down to knee-length or even lower, they might be a bit cumbersome. But they work amazingly for keeping you warm!
The Trenchcoat
Aah, the trenchcoat! Arguably one of the most famous articles of menswear ever created! Rugged, stylish, sophisticated, mysterious, sexy, practical…everything that a man…or an overcoat!…should be!
The exact origins of the trenchcoat are not clear. Two companies claim to be the originator of the trenchcoat – Aquascutum, and Burberry (yes, that Burberry). While it is true that both companies did create, and manufacture rainproof overcoats, exactly who started doing it first, is unclear. Partially because rainproof overcoats actually predate both of these companies!
What is clear, however, is that the classic trenchcoat that we know and love, was being manufactured by at least the 1890s, and first saw military action in the Boer War. However, as a small, colonial war, the Trench didn’t receive much press. That would all change, ten years later, when the Great War began. Although it was designed before the Great War, it was its heavy use in the trenches of that conflict, that gave the new garment its name: The trenchcoat.
By the 1910s, how wars were fought, and the clothes they were fought in, had changed dramatically. Gone were the fancy bright scarlet ‘redcoat’ uniforms of the 1800s, and in came army-brown uniforms and khaki in the 1890s and 1900s. As the British Army prepared to invade France and bolster up their allies in the fight against Germany and Austria, a new type of garment was required for the new fighting conditions.
So, companies like Burberry (the most famous manufacturer) started cranking out a new type of coat.
The trenchcoat is iconic. You know what one is the moment you see it. But what makes a coat a trenchcoat?
To find out – let’s take the most famous trenchcoat of them all, as an example:
Worn by Humprhey Bogart in the 1941 classic “Casablanca”, this is the actual garment used in the film, as sold by Bonham’s auction house.
Trenchcoats were cut long – knee-length at least. They were double-breasted, with, like the peacoat – eight-button closure. They had epaulettes and cuff-adjustors, like the peacoat, and diagonal or vertical storm-pockets, like the peacoat. They had interior liner-pockets, like the peacoat…but that’s where the similarities end.
The trenchcoat was designed as a raincoat which could be worn by army officers on the Western front. The water-table in northeastern France and Belgium, near the German border was notoriously shallow. After digging just four or five feet, you’d hit ground-water…which was terrible news for soldiers who were expected to dig trenches at least six or seven feet deep! Combine this with heavy rain, and the conditions that many soldiers and officers had to fight in were absolutely appalling.
Because of this, the trenchcoat was designed to repel water. To do this, it was made of a waterproof cotton fabric known as Gaberdine (which trenchcoats are still made of today). For warmth, the coats were given interior liners of wool, which were buttoned into place. Since officers had to move quickly through the trenches and across the fields, the coats were made lightweight, to facilitate movement. To deal with the heavy rain, the coats were given cuff-cinches, ulster collars, buttoned back-vents, full-shoulder yokes to keep water off the wearer’s back…and a curious flap of fabric across the right chest, known as a storm-flap.
The exact purpose of the storm-flap has been lost to history, and there are two competing theories. The first is that the flap is a ‘gun-flap’ – it’s where you rest the butt of your rifle while firing, and the flap provided padding against the recoil of the rifle. The other – more likely explanation – is that the flap – which buttons across the collar and top of the coat – prevents rain from running down in between the buttons, and getting your clothes wet!…which is why it’s called a storm-flap.
The storm-flap is always on the right chest – and you can see in the trenchcoat worn by Bogart, just behind the right lapel.
Another of the trenchcoat’s most famous features is the belted back and front. Like with almost everything else on the coat – this was added for purely practical reasons – the belted closure was designed to give officers (and trenchcoats were originally sold only to officers) somewhere to hang things, stuff like whistles, grenades, spare ammunition, and so on. For this reason, brass D-rings were often sewn into the belts to provide dedicated anchoring points, and to stop things from sliding around. Not all trenchies have this feature anymore, but they’re an interesting throwback to the coat’s military history.
Last but not least, the trenchcoat always had a buttoned vent. The ‘vent’ is the split or open flap at the back of the coat or jacket. A hidden buttonhole and button were sewn into the back of the trenchcoat so that you could, if you desired – keep the vent buttoned. Like with almost everything else on this coat – it was designed to keep off rain and snow.
That said – the trenchcoat is not really a cold-winter coat. It’s primarily a raincoat. If your winters aren’t excessively biting, you could quite easily get away with wearing a trenchcoat as a winter overcoat, but for anything involving snow, you’ll probably want something heavier, since the cotton construction (designed to shed rain), won’t be thick enough to deal with sub-zero temperatures, in most cases.
The Popularity of the Trenchcoat
More than almost any other garment on this list, the trenchcoat is iconic. It conjures up images of warfare, bravery, fighting tooth-and-claw. It also makes you think of the Golden Age of Hollywood, between the 1920s to the 1950s, of private detectives and shady characters, of guys who go around with watches hidden inside their coats, and sinister gangsters hiding shotguns inside the linings!
The coat proved so popular that, even before WWI was even over, Burberry started selling civilian versions of the trenchcoat directly to the public. American soldiers arriving in France in 1918 fell in love with the coat, and brought it back with them stateside, which led to its adoption in Hollywood…and anything big in Hollywood spreads around the world!
Buying a Trenchcoat
The trenchcoat is so iconic that almost every major fashion-house has produced a version of it at one point or another. If you want to be REAL traditional, you can buy one from Burberry, or Aquascutum…but be warned that they are EXTREMELY expensive, and that retail-prices of $1,800 – $2,500+, are not uncommon!
This being the case, it’s probably better to buy one either vintage or secondhand, from a decent vintage clothing store, or to buy a trenchie from another manufacturer – making sure, of course, that they have all the necessary details that make it stand out as a trenchcoat…otherwise, what’s the point?
Trenchcoats come – broadly speaking – in four colours: Black, navy blue, grey, and tan. Tan, camel, or khaki, is the most traditional colour for a trenchcoat, since it was designed to go with the original colour of the British field-dress uniform of the First World War. If something like that is a bit too stand-outy for you, however, then navy blue, or grey variations are also available. There are also black trenchcoats, but black is rather overrated as a trenchcoat colour sometimes.
The Chesterfield Coat
Available in both single and double-breasted varieties, the Chesterfield is a formal, knee-length overcoat, with slash, or flapped pockets, and is characterised by the contrasting, dark velvet collar across the back and sides, and the breast-pocket below the left lapel.
Not all modern Chesterfield coats have the contrasting velvet collars, but if you’re going for the traditional look, then try and find one with such a collar. Despite its current status as a rather formal overcoat style, the Chesterfield was originally considered to be a more casual option! When it was created in the 1800s, it was largely worn as an alternative to a coat that has almost completely fallen out of fashion – The Frock Coat!
I won’t cover frock-coats here as a separate entry, but it was the main type of overcoat worn between the Regency era of the 1810s, up until the Edwardian era, of the 1910s, a span of roughly 100 years.
Edwardian-era, double-breasted frock coats
The frock coat was heavy, and long, reaching knee-length, or even below! It was seen as cumbersome, old-fashioned, and impractical. This was largely due to its flaring, full skirted hem. The excessive fabric used to make it just wasn’t fashionable anymore!
Overall, the Chesterfield was just more practical. It had more pockets, and it had a straighter, less flamboyant cut, which didn’t use so much fabric. It basically did everything that the frock coat did, but with less fabric, and more options!
Buying a Chesterfield
Chesterfield coats are basically the quintessential look, when most people think of an ‘overcoat’ – as such, any decent outfitter or retail store is likely to stock them. Keep in mind that chesterfields are designed to be long-draping, however. A hem that doesn’t reach at least the knee, can’t really be called a chesterfield. On some older chesterfields (like, if you buy vintage), can drop right down to the ankle, although this is rare on most modern coats.
Flight Jackets
A relative newcomer to the menswear scene is the fighter jacket and bomber jacket, which first appeared in the 1910s. These are typically gathered under the overall title of ‘flight jackets’.
The First World War was the first major conflict to see heavy use of aircraft. Early fighter, bomber and reconnaissance aircraft, used by the German Imperial Airforce, and the Royal Flying Corps (RFC, later the RAF), often featured open cockpits. Flying at heights of several thousand meters, windchill, exposure and cold temperatures were a big problem for early aviators.
To stop pilots from dying of exposure, or from getting frostbite, tailors started creating new types of jackets and coats for them, which were specially designed to take into account the peculiarities of this new occupation.
Bomber jackets were typically made of leather. Windproof and extremely durable, leather was unlikely to rip, it would repel water, and since leather doesn’t have any weave – it was the most effective way to block wind.
The flight-jacket of a WWI-era RFC pilot. The diagonal, cross-chest pocket was added in specifically so that pilots had somewhere secure to stow documents such as maps, mission-orders, pencils and identity-cards, without having to reach into lower pockets, while sitting in the confined spaces of the cockpit.
The only problem is that raw leather is rather uncomfortable against the skin. To combat this, bomber jackets were given soft sheepskin, fur, or wool linings inside. This prevented the pilots and bombers of WWI and WWII from freezing to death while on long-range missions.
Since pilots spent most of their time seated, with their jackets zippered or buttoned shut, bomber jackets were designed with pockets on the outside – usually two breast-pockets, with buttoned flaps to stop things falling out – and two lower flapped pockets, or even just simple slash pockets.
When the first flight-jackets were created, open cockpits were the norm. Because of this, flight-jackets were designed with cinched-in waists, cuffs, and even collars! Elasticated, gathered-in hems and cuffs were common. Wind-flaps or storm-flaps (such as on the relatively-recently-invented trenchcoat!) were also used.
By buttoning over the gaps in a jacket or coat that existed near the collar or around the chest, the storm-flap prevented wind and rain from getting inside a pilot’s uniform. To further improve things, in WWII, flight-jackets were made with zipper, to ensure an even more windproof closure.
Another common accessory used to reduce the wind and cold was the humble white, silk scarf. It’s an iconic part of the uniform of a WWI-era aviator! The scarves were used to keep the neck and chest warm, and to stop wind from blowing down inside your clothes.
The soft, silk fabric also prevented the fur or sheepskin lining of your jacket from scratching, rubbing and chafing your neck – which could happen a lot to WWI pilots, because without RADAR on their aircraft, they were constantly turning their heads left, right, up and down, to scan the skies for enemy aircraft.
When you probably had gloves on to keep your fingers from freezing off, the last thing you wanted to do was to have to remove them every few minutes to scratch an annoying itch on your neck!…the scarf prevented this from happening.
Flight-jackets became immensely popular after WWII, and greasers and bikers in the 1950s and 60s adopted the flight-jackets that their fathers wore during the War as part of their ‘look’, for purely practical purposes – the close-fitting cuts, convenient pockets, leather construction and windproof designs made them the ideal garments for motorcycle-attire!
Buying a Flight-Jacket
Due to their rugged, modern appearance, flight-jackets are still widely available, either at vintage stores, or at modern retailers who produce their own variations on them. That said, flight-jackets have kind of morphed into motorcycle-clothing, so the two may be used interchangeably. Flight-jackets are typically wool or sheepskin-lined, for warmth, and with elasticated or belted waists and cuffs, to hold back the wind.
Partially due to the price of their products, Montblanc tends to be a very polarising manufacturer of writing instruments and accessories. They’re either a company that you love, or a company that you love to hate, or a company that you have a love-hate relationship with.
Personally, I like Montblanc products. I’m not so sure that I LOVE them – certainly not for the retail prices – but I do like them, for the styling and the designs that they come up with for their various products, and their simple elegance, which has stood the test of time. Not for nothing, after all, is Montblanc one of THE most faked brands in the world, right up there with Rolex, and Louis Vuitton – after all, you don’t fake something that isn’t worth faking.
In this posting, I’ll be talking about another addition which I made to my humble Montblanc collection, shortly before all this coronavirus malarkey started going off around the world – and that addition isn’t a pen, it isn’t a watch, or even a piece of jewelry – but rather – an inkwell!
The inkwell is square in shape, and is surprisingly (and reassuringly) heavy
Montblanc has been making inkwells to go with their pens for many years, and if you search Google Images, there’s a surprisingly wide range of Montblanc inkwells out there, made of crystal, glass, brass and, if you can find one to buy – even solid silver! But the one in this posting is the one Montblanc inkwell that I’ve always wanted to own.
I won this particular inkwell at auction shortly after the start of the year, and just a handful of weeks before everything went into lockdown over the coronavirus. I’d been chasing an inkwell like this for years, ever since I’d seen photographs of it online, and I finally had my chance to grab it!
I wanted this inkwell specifically because of its design and styling. I liked the fact that it was big, black and chunky – substantial – heavy – and decidedly executive-looking – like it belonged on the power-desk of some sort of high-ranking CEO or something like that. I also liked the black and gold detailing, which was clearly designed to match the black and gold detailing of Montblanc’s classic flagship pen – the infamous No. 149. The two items – the inkwell, and the pen – were clearly designed to go together – and for that reason alone (among perhaps…a few other reasons!), I just had to have it!
The inkwell is not a standalone piece, however. It was originally sold as part of a four-piece set. The complete set included a paper-knife, a desk-stand for the 149 fountain pen, a rocker-blotter, and finally – the inkwell. All four pieces had the same basic design – black and gold, with clear resin in between to break up the colours.
As for how old the inkwell is, I’m honestly not sure. My research suggests a manufacture-date of the late 80s or early 90s, but that’s all I’ve been able to figure out. I believe that the inkwell (and the matching blotter, pen-stand, etc) all came out at the same time, as a sort of limited-edition thing, specifically designed to tie-in with the styling of the famous Montblanc No. 149, but that’s all I’ve been able to surmise. That being the case, they are relatively scarce.
Cool Inkwell! I Want One!!
Having seen the inkwell, you might be wondering – how much do they go for? The price varies. I’ve seen everything from $550, to $900, to $1,000+, on eBay. I’m glad to say I didn’t pay anywhere NEAR that for my inkwell. Despite that, I was lucky enough to buy the whole set, with the box, and everything that went along with it! As far as I’m aware, they’re no longer sold by Montblanc directly, (and aren’t mentioned anywhere on the company website), so if you decide that you do want one of these inkwells, then you will have to buy one secondhand.
So, if you CAN only buy these beautiful black and gold inkwells secondhand – what should you be looking out for?
The inkwell, with the three main sizes of Montblanc fountain pens next to it, for comparison. From L-R: the 149 Diplomat, the 146 Le Grand, and the 145 Classique
Given that the inkwell isn’t nearly as well-known as the fountain pen which uses it, it’s unlikely that you’ll ever see a fake Montblanc inkwell, but even so, it’s nice to know what the inkwell comes with, so that you’ll know whether or not you’ve got the full set.
Originally, it came in a black and white MONTBLANC cardboard box, with foam lining and the obligatory Montblanc user-manual. It also comes with a fascinating little gadget which I’ve never seen before…or since. It’s a little black plastic spout or funnel, with a detachable screw-on ring, which goes over it. After a bit of umming-and-aahing, because its function was not explained in any paperwork that I could find, I realised that this screw-down funnel or spout is designed to screw onto the neck of a Montblanc ink bottle! The contents of the bottle can then be decanted into the inkwell through the spout, thereby minimising the risk of spilling any ink!…Pretty nifty!
The inkwell also comes with a removable, round-bottomed, clear plastic inkwell liner-cup – this is to stop any ink that you put into the inkwell from staining the clear resin midsection of the inkwell – possibly permanently – depending on the ink you like to use! Given that this is the function of this clear plastic liner-cup, it’s probably a good idea to check that your inkwell has this, before you bid on it at auction or buy it online. Otherwise, you could end up with an inkwell full of ink-stains, which would be irritating, to say the least!
The Montblanc Meisterstuck executive inkwell alongside the Montblanc flagship fountain pen: The Meisterstuck No. 149
