My Italian fountain pen line-up.

If you were to ask me about my experience of Italian fountain pens, I could tell you a bit about the ones that I own. In real life however, as fountain pen enthusiasts know, such a question never comes up around the office water cooler. Perhaps just as well. So I will resort to giving my response here.

A quick scroll through my pen accumulation database today, identified 12 fountain pens of Italian origin. This surprised me. I had not realised that I had so many.

I remember once watching a reviewer on YouTube, make a sweeping generalisation that Italian pens were a bit like Italian cars, by which he meant that they were flashy looking and fantastic when they worked but perhaps not the most reliable. This is probably unfair to both pen and car.

For my part, within the last four years or so, I have amassed this small sample. It is fair to say that these are all in the lower echelons of the price range. Of my twelve only one has a gold nib. This is the Aurora Ipsilon blue lacquer, with a 14k gold nib, rhodium plated. And that has not been my favourite of the bunch.

From left to right: 1. Aurora Ipsilon blue lacquer; 2. Campo Marzio Ambassador; 3. Campo Marzio Acropolis; 4. Delta Fantasia Vintage; 5. La Kaligrafica; 6. Leonardo Furore; 7. Leonardo Momento Zero; 8. Montegrappa Fortuna; 9. Pineider Avatar, lipstick red; 10. Visconti Rembrandt twilight; 11. Visconti Van Gogh Starry Night and 12. Vittorio Martini Col Disore.

Here again, capped:-

If I were to see this tray of pens at a pen show, the one to jump out at me the most would be the orange one: the Leonardo Officina Italiana, Furore “Arancio”. It is the brightest, the longest, the most flamboyant and also one of the most enjoyable to use. Oh, and the serial number of mine is number 001.

So here is a brief run down of my thoughts on these:

Aurora Ipsilon, blue lacquer.

This is the lacquered metal and gold nibbed version. It is on the small side but posts deeply and with a secure click. I enjoyed buying it whilst visiting Verona but for some reason did not take to it and it has not had much use. The black and blue marbled finish is nice. The fine nib, I recall, was not the most enjoyable.

Campo Marzio Ambassador.

Campo Marzio hails from Rome. They have a small but delightful shop in Piccadilly and sell their own range of fountain pens from around £20 up to £80. They are colourful, good value, standard international cartridge or converter pens with steel nibs. The Ambassador was, when I bought it, at the higher end of their price range. I enjoyed being able to swap out the number 6 nibs easily. It was a big comfortable pen, posted well but could have done with being just slightly longer to be as comfortable un-posted. I think it was the first Italian pen that I had owned. I have a suspicion that it may share a common heritage with the Conklin All American as they seem to have very similar dimensions.

Campo Marzio Ambassador.

Campo Marzio Acropolis.

I later added this blue marbled resin Acropolis, which was similar to the Ambassador but a bit slimmer and with a black section and with metal cap threads on the barrel. My only gripe was that the cap did not post as well as I would have liked. I was afraid of pushing it on too hard and cracking it.

Delta Fantasia Vintage.

This was bought at the London Pen Show and is my only celluloid pen. The steel nib keeps the cost down. It has a lovely swirly dark green finish and I have since learned how to cap the pen such that the patterns of the cap and barrel align. Hold it with nib facing you; place the cap on; turn cap two clicks “the wrong way” and then screw it down. Hey presto. The benefits of attending a pen club. It is a beautiful pen and the steel medium nib works well.

La Kaligrafica.

This is included for completeness but is not one to dwell on. It has a vibrant red acrylic body, some metal lattice work on the cap and a medium Iridium point, Germany, nib. It was a spontaneous and inexpensive purchase on holiday last year. Cap does not post securely. Too short without posting.

Leonardo Officina Italiana, Momento Zero.

This is an excellent pen and excellent value. New on the scene a year or two ago, I found mine for sale by Izods at the London Pen Show. Mine had some slight teething trouble, a tiny crack in the section, which Leonardos, via Roy of Izods promptly replaced for me, sending me a complete front section with nib and feed. The replacement section had no such problem although this time, the nib tines tended to click together a little. Another issue which I and others have noted, is that the converter rattles against the barrel unless you put some tape around it. But the size of the pen and the colours are great.

Leonardo Officina Italiana, Furore.

This is a very similar pen to the Momento Zero, but with bullet shaped ends. I love mine. I took to using it with Waterman Tender Purple ink. The pen really stands out in the pen cup, for its size and orangeness.

Montegrappa Fortuna.

This is standard black resin version. It is big, girthy, comfortable and posts nicely. I felt at first that the shiny plated threads were a bit of a distraction when you hold the pen, but I think with use you forget this or position your fingers to avoid the threads. The nib is smooth although very firm but that makes for a good pen for fast note-taking. It is a little pricey for a steel nib pen, but similar in price I suppose, to the Visconti Van Gogh.

Montegrappa Fortuna, meets Waterman Audacious Red.

Pineider Avatar, Lipstick Red.

Aah. Seldom have I enjoyed buying a new pen so much. I bought mine in Harrods, although they were no longer selling Pineider pens the last time I was there. I loved the vibrant red, mottled velvet-like pattern in the glossy red cap and barrel, the magnetic cap closure, the elegant clip, the Florence sky line on the cap ring and above all, the smooth soft nib. Everyone who tried it said it felt like a gold nib. I enjoyed basking in its reflected glory at our pen club meet ups.

The Pineider Avator, in lipstick red. And one of the nicest pen boxes I have ever received, with some welcome free Pineider stationery.

Visconti Rembrandt, Twilight.

This was my first Visconti, (if I do not count a Homo Sapiens Elegance Oversize, which I bought and promptly returned as the nib was unacceptably dry and too expensive to adjust myself). The Visconti Rembrandt also wrote on the dry side but I was able to adjust the nib by using a simple technique learned from SBRE Brown’s videos, whereby you put your thumb on the middle of the nib and then push the nib down against a hard surface, (such as your other thumbnail) and so bend the tines upwards very slightly, opening up the tine spacing. This made a great improvement and now it writes beautifully.

Visconti Van Gogh, Starry Night.

I had fancied getting a Van Gogh to go with my Rembrandt, (you get the picture?). This one was was being sold by my friend Penultimate Dave at our June pen club meet. When I had seen the full range in a shop in Cardiff once, the Starry Night was my favourite. I may have had to do the same trick with this Fine nib but now it writes superbly, smooth and wet.

Visconti Van Gogh, Starry Night.
The faceted cap and body, in the palette of Van Gogh’s Starry Night.

Vittorio Martini (established 1866), the Col Disore.

This was spotted in the window of a stationery shop in Sirmione, on Lake Garda, for 56 euros. I was attracted by the unusual fluted Maple wood barrel, which I felt looked a bit like the Diplomat Aero. It was a holiday purchase and a nice souvenir. I used it throughout my stay in Italy, with a black cartridge and the cap posted. However, with more comfortable and better-performing pens at my disposal, I have not used it so much since then but it is well made and it is nice to have a shiny, chrome, screw-on cap at this modest price.

Maple wood and chrome.
Vittorio Martini Col Disore fountain pen, next to Daniel’s Diplomat Aero at our July pen meet.

So that has been my experience of owning Italian pens, so far. I still have the urge one day to acquire a superior Montegrappa something, in blue celluloid and sterling silver. And the Aurora Talentum is still on my wish list, notwithstanding the lacklustre experience with the Ipsilon. The Italian allure lives on.

Finally, this has been my 100th post and it seems a fitting milestone at which to say a big Thank you for reading, liking, commenting and following this blog.

Travelling with ink: Lake Garda revisited.

I have just spent a very enjoyable week’s holiday at Lake Garda, the largest of the Italian lakes. Some readers may remember that I wrote last July about my first visit there and my experiences of scouting for pen shops in the area, Travelling with ink: pen shopping in Lake Garda.

This year, my wife and I stayed in Sirmione, a town in a spectacular location at the tip of a peninsula, at the southern end of the lake. For me, a holiday begins with the happy task of deciding what fountain pens to bring, as I contemplate writing my journal whilst abroad. This time, I chose a Visconti van Gogh Starry night as it was my most recent acquisition (bought from a friend at our pen club), plus a Montblanc Meisterstuck 145 Classique, simply because I rather liked the idea of adopting this as my foreign travel pen, having brought it with me to Dubai in February. For ink, I had Graf von Faber-Castell Cobalt blue cartridges for the van Gogh, whilst the Classique was loaded with Montblanc William Shakespeare Velvet red.

As for the notebook, I almost brought a Silvine exercise book but could not face being without a Leuchtturm A5 journal, as I prefer the paper. The book is worth the extra weight. Also the hard covers make it more convenient for writing on your knee if necessary.

I had almost forgotten just how beautiful this area is. Tired from the busyness of work and a ridiculously early start for the 6 o’clock flight I was unprepared to find myself in the Italian summer heat, dazzling sunshine and 360 degree beauty on reaching the lake shore towns.

The castle at Sirmione, Lake Garda.

Later, on exploring Sirmione, I was pleased to find the stationery shop Cartoleria Benzoni in the centre of the touristy area, where I had bought a pen last year. I enjoyed the shop window displays and one fountain pen in particular caught my eye.

This was an attractive pen in metal and Maple wood, the barrel being fluted, similar to a Diplomat Aero. I noted from the window display that there were threads for the shiny chrome cap. It had a steel nib, was a cartridge converter pen and at 56 euros, was a pleasing holiday purchase. I learned later that the brand, Vittorio Martini was established in 1866 in Bologna and that this model is the Col Disore. As it turned out, I used the pen for most of the week, until the supplied black cartridge finished.

Vittorio Martini, Col Disore fountain pen.

I had learned from my experience here in 2018 that there were not many pen shops in the towns around the lake and that for higher priced brands, you need to visit one of the cities. We were located about mid way between Verona and Brescia. Having visited Verona last time, we decided to venture off to Brescia for a day.

It was well worth the visit. Much quieter than Verona, the city has many beautiful piazzas, churches, an old and a new cathedral, (literally side by side) and a splendidly elegant loggia, offering shade and a welcome cool breeze as you explore the many excellent shops.

I was pleased to discover F.Apollonio, a long established stationery and pen shop where I was shown a glass counter full of interesting pens, old and new. I skimmed over the modern Parker pens, but asked to see some of the older ones, which the young lady told me were from previous collections. I handled two lovely Parker Duofold pin-stripe pens, one blue, one green, marked at 850 euros. The nibs looked gorgeous. I also saw a row of unusual Parkers, which I had not come across before. She informed me that these were the Parker Ellipse. I read later that they were produced only for a short time, from 2000 to 2002 and so are rather rare. These were priced at around 400 euros. Finally, I saw an Omas, a piston filler in a faceted dark green celluloid. I do not know the name. This too was outside my holiday budget! But the lady was happy to show all these to me and glad of an appreciative audience. She told me that the shop also sells online.

F. Apollonio stationery shop, Brescia.

After a look around the cathedrals, I spotted another pen shop, called Rossi. Here I picked up a couple of Pelikan school pens (in rather garish colour schemes) at 8 euros each and a box of cartridges. I then asked to see one of the Aurora fountain pens in the display case, which had a black barrel and gleaming chrome cap. It was an Ipsilon, steel nib version at 100 euros. Sensing my interest, things swiftly escalated and the lady showed me a similar model but in silver and with a gold nib. Next she produced an Aurora Talentum in black with chromium (or perhaps rhodium) plated fittings and a 14 gold nib. This was significantly larger than the Ipsilons and felt very comfortable in the hand, having a much broader grip section. The screw cap could be posted too if desired although the pen was a good length unposted. My resistance was weakening by then and I came very close to parting with 320 euros to take this home with me. However, my wife reminded me that I had a lot of good pens already, including the van Gogh bought just a few weeks earlier. True enough. This was over my limit for an impulse buy with no research and had not even been on my radar or found its way to my wish list. And so I walked away bravely, with my two Pelikan school pens. The reckless have more fun.

Rossi stationery shop, Brescia.

My only other pen purchase of the week was another Pelikan, but a ball point pen which I spotted while scouring the back shelves of a newsagents’ in a place called Colombare. This was a twist-action model in a very pretty pearlescent finish and is called the Jazz Elegance (as opposed to the Jazz Classic and the Jazz Velvet). My wife and I had one each.

Pelikan Jazz Elegance, ball pen.

Returning home, it was good to find my pen cups and the twenty or so currently inked pens that I had not taken with me. A final exercise after a holiday is to try them all out to see which “hard start” after a week’s rest. Most did commendably well, except for a couple which had barely any ink remaining.

I have not forgotten the Aurora Talentum but it will first have to take its place on my wish list. I have to admit that my wife is of course right, that I do indeed have a lot of excellent pens already and it is a joy to rediscover them after a short break away.

Lake Garda. 370 square kilometres.

Taking stock: a few thoughts on the pen collecting journey.

I have been reflecting a bit lately, on the state of my fountain pen collection (or accumulation) and journey and whether the process follows a common pattern. Am I on the same path that others have trod and if so, where does it lead? This has been prompted by thoughtful posts that I have read recently, from Inkophile My Wishlist And The Desire To Acquire and from UK fountain pens Going on a diet (recalibrating to smaller, cheaper pens).

I keep a simple database of my pens, using an app called Memento, with a few details including the make, model, date purchased and price paid. I also add a record of inks used and a few other general notes. I usually have the list sorted by date of purchase so that I can easily see the most recently added. But the list can easily be re-ordered alphabetically or by price paid.

Going by price paid, I looked back at my list, currently sporting 225 pens, and was struck by how few I had bought costing more than £100.00. There were only around 20. And most of those cost between £100.00 and £200.00. There were only four costing me more than £200.00, namely a Parker Duofold International, Delta Fantasia Vintage, Pelikan M800 and a Montblanc Classique. I do have some other superb pens including Pilots and Montblancs which I have not included as they were received as gifts.

This means that I have a large number of cheap and modestly priced pens, including the ubiquitous offerings from Cross, Lamy, Parker, Sheaffer and Waterman, quite a few duplicates plus a good number of Chinese pens. Perhaps all these should not count, on my list. Yet the Wing Sung 601 is one of my favourite pens and cost only around £11.

A coming significant birthday means that I have now had an interest in fountain pens for 50 years. This has been spurred on in recent years by the internet thanks to YouTube video reviews, blogs and internet shopping. It is ironic that when I was a ten year old, a fountain pen was a necessary tool whereas now as an adult the pen has become a toy. I still use my pens every day but no-one needs 200. Does there come a stage in life when the desire to have less belongings takes over from the desire to have more?

I did not set out to become a fountain pen collector. I do not see myself as a collector. I have not tried to buy rare pens as collector’s items or gone about filling in gaps. Rather, for many of the relatively more expensive pens that I bought over the decades, the aim was for it to be a new “best” pen, a special lifelong companion. This can be said particularly of pens which were, at the time, the most expensive that I had bought, such as Parker 75, a Sheaffer Connoisseur or the Pelikan M800. The aim was to have a pen that would be long lasting, reliable, of good quality and something to enjoy owning and to take pride in. Not all pens fit this category of course and others, such as Lamy Safaris, were bought to give unflashy service at work. Although I do not know why I have them in so many colours.

A by-product of this mentality, if you keep repeating the process of trying new and promising pens without also selling or giving away the old ones, is that you build up an accumulation of pens, many of which may be no longer used.

Those with sufficient will power and determination to outweigh the sentimental attachment, carefully prune their accumulations as they go along. I have neglected this. Others may reach a stage of realising that they have too many pens that they are not using or likely to use and feel a desire to move them on. I have been extremely fortunate to have received some of my most valuable pens in this way. So is this a natural step, of going from increasing the accumulation, to reducing it? I read in an Instagram Q&A from SBRE Brown this weekend, that he once had around 300 pens but has now reduced his number to about 20.

For a fountain pen enthusiast, buying a new pen is exciting and enjoyable and let’s face it, addictive. But there comes a point when you realise, perhaps later than you should in my case, that having increased your number of pens, the result of adding more may be to dilute the use and enjoyment that you have from your existing ones and to be counterproductive. Also, with experience we should become better armed at identifying what we like and do not like, resisting temptation and distinguishing “need” versus “want”.

Perhaps a beautiful pen is like a beautiful landscape view: we do not need to see every one there is. The uplifting effect of one is enough.

It seems obvious but thought should be given when buying a pen, as to what it offers that your existing pens do not and whether it will really be any better. But manufacturers design pens to be attractive and to sell and make profits. I do not think we should beat ourselves up too much if we succumb to the appeal.

What we find comfortable to spend on this hobby will differ from person to person. The question of whether a pen represents good value is complicated and difficult to gauge objectively. It may depend partly upon the amount of use it gets. Whether a pen is good value and whether you have good value from it, are different things.

A pen wish-list is a useful tool. If a pen takes my fancy, (say, the Diplomat Aero or the Lamy Imporium, for current examples), it is a good exercise to add it to the list and compare its appeal against others already on the list. Also, leaving a pen parked on the wish-list for a while helps to weed out those which are just fleeting fantasies or to be overtaken by later desires. It is better to go off a pen while it is still on the wish-list, than when you have bought it. How many times have we bought an exciting new pen, only to have our heads turned by something else, within weeks of its arrival? Which is my favourite pen? My next one.

A good fountain pen is a wonderful thing. The act of writing in itself is pleasurable, to see and feel the nib gliding effortlessly over the paper and leaving a line of glistening fresh ink in its wake. And then there is the satisfaction of using the pen for developing, organising, expressing and recording our thoughts – perhaps not well enough in today’s piece.

At the end of the day, is it all rather frivolous to have a passion for fountain pens? At times, when the stresses of life become unpleasant, it might seem so. But happily at those same times, there is a real benefit to be had from having a hobby which provides relaxation and enjoyment. It is then that the thought of getting out a particular pen and pairing it with a particular ink, can have restorative benefits. Now, I wonder, how would Robert Oster Aqua go with my orange Leonardo Furore? And if this keeps us going in times of adversity, then it is priceless.

Pineider Avatar, Lipstick Red. An object of desire.

Early thoughts on the Sheaffer Prelude cobalt blue fountain pen.

Whenever I go to our local John Lewis department store, I always pay a visit to the friendly and helpful staff in the Stationery department and take a look at the displays of fountain pens in the glass counters.

These contain the usual suspects from Parker, Waterman, Cross and Sheaffer. But this time, although I must have seen them countless times before, my eyes were drawn to a tray of Sheaffer Prelude fountain pens. They were in several different colours, including some metallic finishes, but the only one I really noticed was a beautiful deep, dark blue, accentuated by rose gold plated furniture. It demanded a closer look.

Sheaffer Prelude, cobalt blue with rose gold PVD trim.

I am not a big fan of faceted grip sections, which this pen has. I do not generally like them because (a) they make the section narrower and (b) they do not cater for lefty overwriters such as myself, who may want to rotate the nib inwards a little, whereupon the facets are no longer under your thumb and forefinger and instead you find yourself gripping a sharp edge. However, I tried the Prelude and found that with the cap posted, I naturally gripped the pen higher up, at the join of the barrel and the section so that the facets were not a problem at all.

I do very much like the shape of Sheaffer nibs and the attractive scroll work on them. I took a close look at the nib with a loupe and was excited to see perfectly aligned tines and a nib slit, with light visible between the tines, narrowing perfectly to the tip. It promised to be a smooth and responsive writer. I have since read that the rose gold coating is a PVD, or Physical Vapour Deposition. The science is beyond me but it looks lovely.

The rather vintagey-looking nib of the Sheaffer Prelude.

I decided to liberate the pen and was pleased that it came with a converter as well as a proprietary Sheaffer cartridge in blue and black and a lifetime warranty.

At home I filled the pen via the converter, from a bottle of Graf von Faber-Castell Cobalt Blue ink, which I have decided is probably my favourite blue ink. It is a rich dark blue, like the traditional colour of a Guernsey woollen jumper (which had for two years been part of my school uniform in the early 1970’s).

Cobalt blue pen with Cobalt blue ink. Genius.

The medium nib wrote smoothly and effortlessly as I expected but produced a line that was closer to a Fine than a Medium. I was quite happy with that.

But this combination of Sheaffer Prelude, Cobalt Blue ink and a Leuchtturm A5 journal was so enjoyable that I could not stop writing with it and quickly filled 14 pages of my notebook. The smooth, fine, wet nib leaving a wake of deep dark blue ink emanating from the rose gold coated nib were so appealing that it was hard to put it down.

My favourite Prelude pic. Look at that paper texture!

I did eventually stop, but only to take some photos of the pen and a few comparison shots with similar pens. Then, like having a new baby, I came down in the middle of the night to test it for hard starts (none) and to write a little more with it.

The Sheaffer Prelude (right) beside a near equivalent, the Parker Sonnet. Both with steel nibs but each taking its own proprietary cartridge or converter.

The pen is a of metal build, with a lacquer coat. There is an attractive white inlay in the finial, which helps to distinguish the pen in the pen cup. The pocket clip (topped with the Sheaffer white dot) is very firm. The snap-on cap posts securely and closes with a reassuring click. The barrel has metal threads on the inside, which are extremely long. I counted fifteen twists to get to the end of the threads and remove the barrel. The section, with its two grip pads, has a black cylindrical plastic housing to support the cartridge or converter, which I liked as I have seen another Sheaffer, the 100, with no such side support and just a platform with the tube sticking up to puncture your cartridge.

Priced at £75.00, the Sheaffer Prelude is a superior model to the Sheaffer Sagaris, the 100 and the 300. In terms of its specification, it seems on a par with the steel nibbed Parker Sonnet which for a time was my best and costliest pen.

I am pleased to have discovered the Sheaffer Prelude and very glad that I stopped to give it a proper look. It is reliable, enjoyable, attractive and robust which all go to make it a great daily carry.

Some early thoughts on the Helix Metal Desktop Sharpener.

I first spotted this for sale, in a rather battered cardboard box, at our local Ryman stationer a few of weeks ago. I did not buy it the first time, but when I saw it still sitting there last weekend, I decided that it needed a new home.

It is an intriguing device. Ryman has a selection of pencil sharpeners, including battery operated models but it was this good old fashioned hand-wound model that appealed to me. Perhaps it was a reminder of primary school days when the teacher had a pencil sharpener clamped to the edge of the desk.

According to the box, there are three colour options, blue, black and red. There was only this one on the shelf, which was red and that seems a good colour for a pencil sharpener.

I stood for a while in the shop, looking at the instructions and features and trying to visualise how it all worked. When I came to buy, I was given 10% off for the damaged box which brought the price down from £14.99 to £13.49, an unexpected bonus. (Note: they are currently for sale on Ryman online, at £14.99 and part of their 3 for 2 promotion).

Helix Metal Desktop Sharpener.

This is my first experience of owning a desk top sharpener. Its features include five settings for various grades of sharpness; a quick release to clear broken leads; a clear plastic tray to collect the shavings; an anti-slip base and a simple clamp for easy attachment to a desk. It is not essential to clamp it and you can still operate it by pressing it down with one hand, whilst operating the crank with the other. You do not need to hold the pencil.

The two cute little ears on the front are actually to squeeze and open a grip, to hold the pencil.

It is very exciting to sharpen your first pencil. The procedure is as follows:

  • Select your desired setting. The first on the left is the sharpest;
  • Pull the chrome “carriage” forward, against the tension of the spring inside, until it locks into position;
  • Squeeze the two black levers, opening the sprung aperture, or “jaws” which grip the pencil; insert a pencil, as far as it will go into the sharpening chamber, then release the black levers;
  • Holding the sharpener down firmly (if not clamped), wind the crank clockwise for a few turns until you feel no resistance and it turns freely; once sharp, the handle continues to rotate but the pencil will stop being sharpened;
  • Squeeze the levers, and remove your now sharp pencil.
With carriage extended and a pencil in the chamber.

I rounded up about 35 pencils from the house and gathered them together to be sharpened. This was an interesting diversion in itself as I recognised a few pencils from years back which brought back different memories.
I found some 2B and 3B pencils, that I had used for drawing, decades ago. Also there was a pencil in white with the red lettering of Greater London Record Office and their old style central London telephone number. I had been given this when visiting the offices near Farringdon to research a property title, looking at records on microfiche, some time in the 1990’s. It was forbidden to take notes in anything but pencil for fear of damaging the aging records.

The great pencil round-up.

I was interested to try the five different point settings. To adjust the setting, you turn a red plastic selector. I found that I had five Staedtler Noris HB pencils and so tried sharpening one each at the five different settings to compare the results.

The settings of 5 (top of photo) down to 1, on Staedtler Noris HB pencils.

Having figured out how to operate it, I tried removing the handle and the blade. These are easily removed by turning the black locking ring 90 degrees anti-clockise and then pulling it out carefully through the hole. The instructions warn against holding the blade, which is obviously sharp. It should be gripped in a vice if unscrewing the handle.

I found it quite fascinating to see how it works. With a pencil inserted, the pencil is gripped and does not rotate, but just pulled forwards. Instead, the conical sharpening chamber rotates around the pencil. A cylindrical blade, rather like a lawn-mower blade with a sharp edged, helical arrangement, rotates over a slot in the sharpening chamber. It is a joy to watch and an amazing design.

A peek inside at the rotating blade.

To replace the crank and sharpening assembly back into the device, (which is slightly more fiddly than taking it out), offer it up carefully back into the hole, then turn the black locking ring 90 degrees clockwise. I found that it helps to try to hold the crank and the locking ring tightly together as you do this.

The clever bit. The crank with the sharpening chamber and blade attached.

To empty the shavings , the clear plastic drawer is just pushed out freely out the front. It will not go in too far or come out through the back.

Fine wood shavings and pencil graphite dust.

As you can well imagine, I had a happy time sharpening a batch of pencils, whilst reminiscing over days of old and restoring lots of elderly stubs to a sharp condition once again. It makes for a pleasant afternoon and is a fine pursuit for National Stationery Week here. The sharpener is a marvel of design, works well, is good value and has a very refreshing old world charm.

The red selector switch to choose your sharpness.

Another look at the Faber-Castell School pen.

Almost two years ago now, in May 2017, I wrote a post: Faber-Castell School fountain pen; initial impressions. I was quite taken with these inexpensive pens and had bought one each in blue and red. Then, as now, I like to visit stationery shops when travelling to see if there are any bargains.

A reader, Mike Jurist commented that the pen was also available in carbon black and that he had been using one as his everyday fountain pen for three months, and loved it. That sounded awesome and I kept a lookout for the carbon black version for months but with no success. I had bought my red and blue in a Waterstones book shop, from a revolving rack and so I continued to give these racks a spin whenever I found myself in one.

And then at last, while in Dubai earlier this year and having a browse in a gigantic Carrefour supermarket in The Mall of the Emirates, I spotted the elusive black version for the first time! I put a couple in my basket. The price was similar to what I had paid before, around £4.00 each, including a box of six royal blue cartridges.

The elusive Faber-Castell school pen, in carbon black.

Essentially the pen is the same as the one I described in my earlier post. But this one is not just a plain black plastic, but a rather nice carbon-fibre effect.

Obviously the pen is crying out to be filled with black ink. At home I inked it up with a black WH Smith cartridge – continuing with the theme of budget ink for a budget pen. The nib was smooth and wrote well.

A pleasing carbon-fibre effect for under a fiver.

My only complaint is that the nib has a very pronounced droop, which is unusual and disconcerting and makes for a rather firm writing experience. This was the same on both of the carbon black pens that I bought and was in keeping with the nibs of my older red and blue models.

Three examples, all with pronounced nib droop.

Despite this, they represent good value and perform well, in terms of nib smoothness and ink flow.

However for a step up, if you do not like the angled-down nib, there is the Faber-Castell Grip, which is a little larger all round and with a distinctive barrel featuring rows of raised coloured dots, which make for an interesting and unusual texture. These can be found for around £15.00 but for the level nib and the slightly larger dimensions and a few other improvements, this too is a great bargain.

A comparison of the Faber-Castell school pen (top) and the Faber-Castell Grip.
But just look at the carbon-fibre finish!

A look at the Diplomat Excellence A2 fountain pen.

I am getting better at not buying more pens. I am not saying I have given up completely, but I am trying to think more carefully about whether I would really use that new pen and whether it would be any better or different from those I already own. But one that I did buy recently was the Diplomat Excellence.

A pen club friend asked me today to send him a writing sample from this pen. I took a few pictures and then thought that a brief review on here might not be amiss.

Diplomat Excellence A2 Marrakesh

I bought my Diplomat Excellence at the London spring pen show, in March 2019. The rational was that I already had its smaller brother, the Diplomat Esteem, (which I reviewed here) which I use at work to enliven my notes and calculations, (currently with Garnet red ink) and which I have always felt is a remarkably good pen, with a superb steel nib. But whilst the Esteem is a medium sized pen, I had always hankered to get the larger Excellence, for its broader girth.

The opportunity came when I found that John Twiss was selling the Excellence at the pen show. What’s more, he had some with 14k gold nibs, which I had not seen before.

Packaging.

The pen comes in a white cardboard box, inside which is a black cardboard tray with an aluminium sliding cover. When you slide this off, a white card flap is raised to reveal the pen on a soft padded white cushion with the black petal logo of Diplomat.

The flap reads “Diplomat, since 1922” and can be slotted into the box either behind the cushion with the text face down, to be read when raised (like a shop display) or in front of the cushion to have the text face up.

Unboxing.

Appearance and Construction.

The Excellence is a metal bodied pen, in lacquer finish. The model I chose is the Excellence A2, Marrakesh with chrome fittings. “Marrakesh” denotes the metallic mid-brown colouring (actually a more complex mix of sparkly gold and orange if viewed with a loupe) whilst “A2” I think may identify it as having the push on cap (rather than screw on, available on some models) and a sprung pocket clip.

The finial has the distinctive Diplomat logo, easy to spot in a pen cup. The silver coloured cap ring has the text DIPLOMAT, SINCE 1922 and on the reverse “made in germany” in lower case.

Cap finial. Tough metal barrel threads.

At the other end of the barrel, there is a silver coloured foot piece for the pen to rest on in a pen cup with a lip to secure the cap when posted.

The section is of tapering black plastic. At the nib end, there is a chrome ring which secures the cap with a satisfying click. Having a push on cap of course means instant access and no rough threads where you hold the pen. The cap is designed to fit flush with the barrel, (apart from a slightly bulging chrome cap ring) and to allow for this, there is a slight step down from barrel to section, but it is minimal and smooth.

Removing the barrel, on long metal threads (complete with rubber O ring), there is the supplied Diplomat converter.

The nib and feed.

This is a bi-colour, size 6 nib, in 14k gold but partly plated, and with the Diplomat petal logo picked out in gold. There is no breather hole. The nib is stamped with Diplomat, since 1922, 14k – 585, F. The nib has a little bit of spring to it but is not as soft as you might expect from a gold nib.

Size 6 nib in 14k gold.

The black plastic feed is of slim profile, with a slight wave shape and quite thick, sturdy fins. On my model, the nib was well finished with nice level tines.

Give the feed a wave.

Filling type.

It is a cartridge-converter pen, supplied with a Diplomat converter but also accepting standard international cartridges.

Diplomat converter, Note the O ring on the section threads.

Size and weight.

This is a large pen, although not over-size. But it is also heavy. Closed, it measures approximately 138mm; uncapped 129mm and posted, 153mm.

The whole pen weighs around 47g, comprised as to 29g uncapped and 18g for the cap alone. (For comparison, my metal Waterman Carene weighs around 33g, with the body at 23g and cap at 10g, and so the Excellence is about 42% heavier). Nevertheless, I still use the Excellence posted, as I just seem to find a better angle of pen to paper that way.

Likes and Dislikes.

I already liked the Diplomat Esteem and was expecting the Excellence to be much the same but bigger and better. In fact it is not quite that simple. The pen is certainly bigger and heavier and feels very dense and solid in the hand. The nib too is bigger than on the Esteem. Yet I did not find the Excellence’s gold Fine nib to be so joyously soft as the Esteem’s steel Medium nib, which surprised me. But it is a great nib, responsive and reliable and pleasant to use. Here are some Likes:-

  • robust and reassuringly solid; the pen feels indestructible;
  • wide comfortable girth with no cap threads;
  • large nib, smooth and responsive and with a pleasant feed-back;
  • rubber O ring on the section threads, to stop barrel working loose or to stop leaks;
  • attractive gift box;
  • mine was great value at £150.00.
Writing sample, with Conway Stewart Tavy, by Diamine.

Dislikes:

As with the Esteem, I found very little to say here. I was a bit un-wowed by the brown finish but this is due to personal preference and not a valid criticism. There are other colours and finishes available.

Compared to the mottled amber coloured finish of my Waterman Carene, the Marrakesh colour is slightly dull. It is a heavy pen, particularly if like me you post your caps. But apart from this I cannot find any fault with it.

Conclusion.

I have been using the Excellence daily, for seven weeks now, and enjoy picking it up for my daily journal ritual. I am glad to have bought it. My local John Lewis used to sell them but they are hard to find in shops now. They are available on Cult Pens. It writes well, feels comfortable and is very solidly built.

It seems a common opinion in fountain pen circles, that Diplomat pens are under-rated. For anyone wanting a great quality, good-sized, metal bodied pen and who will not mind the weight, this one gets my recommendation.

Marrakesh and Tavy on Leuchtturm.

Inky Pursuits round-up.

Here is a brief round-up of some of my recent fountain pen related activities.

Currently inked.

If you had met me when I was aged 11, and asked me then about my ink pens and accessories, the sum total would have looked something like this.

A single Parker pen and bottle of Quink. “Can it be that it was all so simple then, or has time rewritten every line?”

Somehow in the intervening years, (but particularly in the last few) the pen accumulation has mushroomed and I have an entire drawer full of inks, the use and enjoyment of which has become a major hobby.

However, my number of “currently inked” pens at home, in a neat array of pen cups, has grown to an all-time high at 31, (not counting a couple of others kept at my place of work and another in my jacket pocket). Here is what 31 pens looks like.

The 31 currently inked, bunched roughly according to ink colour

This is due to a combination of factors: a number of new arrivals; an eagerness to try out new pen and ink combination ideas without waiting for another pen to run dry, and a general reluctance to flush away good ink.

The currently inked list. Note, five all inked with Tavy blue black, three with Pilot Iroshizuku Shin-kai, three with Graf Cobalt blue and two with Montblanc Royal blue.

I do not really see this as a problem. (Perhaps THAT is my problem!) I could go and flush them all this evening, but this would mean wasting the equivalent of almost one entire bottle of ink. Whilst I could cut down, I do enjoy having the choice of all these pens at my finger tips. And the joy is that each and every one feels different.

Recent purchases.

At the end of January, I bought a Montblanc Meisterstuck 145 Classique with platinum trim. As usual it came fitted with a Medium nib but I had six weeks in which to request a free nib exchange. I did visit a Montblanc store in London where I was able to try out the various nib options. I was very tempted by the Broad, which would have been my choice if I were to have swapped. But in the end I did not want to part with my Medium nib that I had grown to enjoy. The nib had taken a few weeks to run in and in short, we had “bonded”.

In the early weeks since buying this pen, I tried a different ink on every fill but have now settled on the lovely Montblanc William Shakespeare Velvet Red, for the time being.

Another purchase, made at the London pen show in March, was the new Leonardo Officina Italiana, “Furore”, in a vibrant orange with gold colour trim and a Fine nib. In a rare stroke of genius, I have paired this with Waterman Tender Purple – a fun ink for a fun pen and am loving the combo. Also the feel of this nib on Leuchtturm journal paper makes me want to exclaim “Ooh, that’s lovely!” every time I write with it.

The artificial light does not do this justice.

My only other pen purchase from the show was my Diplomat Excellence A, Marrakesh, with a Fine nib in 14k gold. This has been inked with Tavy and I have been using it happily for my daily journal. The first fill had been with Diamine Cherry Sunburst, which I did not enjoy so much with this pen; perhaps it was just too matchy matchy for the metallic brown pen.

Unexpected gifts.

In February I received a wonderful surprise gift from a pen friend in Australia, who sent me his Pilot Custom 823 and Graf von Faber-Castell black Guilloche, both with Broad nibs and both fantastic pens. The 823 had been a grail pen for me and difficult to find in the UK. On my last visit to Hong Kong in 2017 I had hoped to have a chance to do some pen foraging and perhaps bag an 823 but my shopping plans were cut short by a bout of Sciatica and so the 823 had remained on my wish list. So I was extremely happy when one arrived on my doormat out of the blue.

Then in March, having read of my new Classique and my dilemma over whether to go for a nib exchange, my friend sent me a superb, 1970’s Montblanc 146 with a broad nib, which unlike the modern versions is an all gold finish and rather softer too. The pen also had a solid clear ink window instead of the small rectangular windows that the modern piston fillers have. This was an extremely generous and unexpected gift and you can imagine how thrilled I was on opening this package.

Montblanc Meisterstuck 146, with Broad nib. Believed to date from the 1970’s.

London Pen Club.

Our pen club met on 6 April, with a good turnout of around 15 people. Being the first gathering since the London pen show, a few of us had some new goodies from the show for others to try. My orange Leonardo Furore drew some admiring comments.

John had brought along his Montblanc 146 and 149. I was interested to compare these alongside my 145 and 146 and got a photo of them all in a row.

The first and third are mine…the 145 and 146.

Cameron had brought a recently acquired Pelikan M815 shiny stripes Stresemann, which was impressive, being heavier than the normal M800’s due to the metal in the barrel.

Penultimate Dave brought along an entire pen case of Arco beauties from his collection and some lovely Conway Stewarts which felt good in the hand.

However, I am pleased to report that I was feeling very content with my lot and did not feel the need to acquire anything else. Whilst it is always great to try other people’s pens, and many of brands that you just do not see in pen shops, I was happy in the end just to know that they exist. I felt, for the moment at least, cured of the need to acquire any more pens!

Harrods and Selfridges.

To put this to the test, I took the opportunity after the pen club meet, to visit both Harrods and Selfridges, to have a browse around their fountain pen departments and see what was new.

In Harrods, there is a particularly good range of Montegrappa pens. I had a second look at the “Monte Grappa” models, a recent range of retro style piston fillers, in black, navy blue, lavender or coral. They are available with either steel nibs or 14k gold nibs, the latter version being £445.00 in Harrods.

I was pleased to discover a very quick route to Harrods’ pen department currently located on the third floor, as “Pens, Books and Games” rather than the “Great Writing Room” of the past. (If you walk round to the back of Harrods, in the Basil Street entrance, take the escalator to the third floor, go left through Stationery, you will get straight to the fountain pens. You’re welcome).

A few tube stops later I was at Selfridges, where the pens are on basement level. I had a good look around the displays, with a good selection of the high end brands, including Yard O Led, Graf von Faber-Castell, Caran d’Ache, Chopard, SJ Dupont, Montegrappa, Pelikan and a few Viscontis, as well as Parker, Cross, Sheaffer and Waterman. As with Harrods, there is a separate booth for Montblanc.

I noticed Pineider there for the first time, with La Grande Bellazza models in Malachite and various other colours and two demonstrator models, one being the Honeycomb, which I had not seen before. The other with a gold coloured spring inside appeared at first glance like a posh TWSBI Go.

I was able to leave both Harrods and Selfridges without parting with any money. This time.

Off to explore a new Galaxy.

I suppose like many other people, I had become addicted to my mobile phone. Not for phone calls, but for all the other features, particularly looking at Instagram, WordPress and for music, comedy and fountain pen stuff on YouTube.

Since July 2015, I had been using the same Samsung Galaxy S6, purchased on a 2 year contract. When that ended, I took out a SIM Only contract for 12 months and then another. So for almost four years, I had accumulated a lot of stuff on this device.

The end, when it came, was swift. On Friday evening, the last thing I remember watching on the phone was a video, which YouTube had thoughtfully suggested would be of interest to me, of a a man called Luca playing U2’s With or Without You, all by himself on an acoustic guitar with three necks (the guitar, not Luca). But when I next looked at my phone, it had become very hot and would not switch on. I tried to restart it, holding down the on/off button plus the volume down button simultaneously, for over 12 seconds. Nothing. I tried recharging it. Still nothing. There was no indication that it was even charging.

On Saturday morning, after several more unsuccessful attempts to revive my phone, I took it to the local EE shop. The phone shop guy was unable to revive it either. As the phone was out of warranty, the option of sending it away, for an expensive repair and replacement battery, given the age of the phone was not recommended and it looked like time to buy a new phone.

I asked about Samsung’s new Galaxy S10. I had heard of this, from seeing it on a poster the size of a house, while travelling in Dubai recently. They had these in stock but deciding that you want an S10 is only the beginning. First, there were three different versions – the S10e, the S10 nothing and the S10 plus. Being a novice I opted for the middle one. Next there was the decision about what contract to choose. This meant deciding how much data download you want per month (up to a possible 100GB I think) and then, whether you want to make a big upfront payment and have 24 small monthly payments, or a small upfront payment and have 24 big monthly payments (or a million options in between). To decide this, the phone shop guy and I gather around his tablet screen while I try to do the mental arithmetic to work out the total cost over 24 months of the dozen or so options.

In the end, I go for a 10GB monthly allowance and opt for somewhere in the mid range for the down payment and instalments.

I was asked if I would like a Samsung smart watch for a small extra monthly payment. I declined this. In lieu of this, they were able to bring down both my down payment and instalments considerably, as a reward for my loyalty to EE.

Finally I had to chose the colour of the phone. They had black, white, hi-viz yellow (not that one) or “prism green” which looked interesting and seemed like a good idea at the time. And off I went with my new phone.

I spent much of the remainder of the day in setting it up, sorting out email, installing Apps, clicking an endless round of consents to End User Licence Agreements, putting in passwords and then trying to input my contacts from my old-school paper address book. Given that my old phone was dead, it was not possible to transfer the data direct.

All of these chores take your mind off what is a bit like a bereavement. It takes time to sink in that some of the photos on my phone, screen shots captured from Instagram stories and such like, which I had not backed up, have gone.

Another thing that’s gone is my database of my fountain pen accumulation. I had used a handy App called Memento where you can create and edit a database for anything you like. I had one for my classic cameras and another for pens purchased, with fields for the make and model, date of purchase, price paid, ink used (with dates of ink changes) and then notes for miscellaneous comments. I was up to 244 entries (although a few of the pens had since been moved on).

It was useful to look back and see what I had bought over a particular year. Also, I enjoyed having a record of the inks that I had tried. This was sometimes helpful if I had forgotten quite which ink was in a pen last and whether I could just refill it or clean it first. And the database could easily be sorted by date or alphabetically by pen name. All gone.

You might say that anyone who has so many pens that he needs a database, has too many pens. Yes, you could say that. Fountain pen enthusiasts often talk about the fact that pens (and associated accessories of inks and journals) are addictive, just as mobile phones are addictive. And if we are spending all our time addictively collecting pens and addictively looking at pens on a mobile phone screen, then we are in double trouble.

In my mobile phone Gallery I had moved all my photos of fountain pens into a separate “Album” which had probably around 2,000 images in it. This sounds dangerously like the sort of fact that we hear on the news, when police are involved.

So what is the good news? I haven’t yet bonded with my new phone and do not yet feel like picking it up constantly to check for Instagram posts or new posts on WordPress. Perhaps wiping the slate clean with my pen database and mobile phone pen photo library, will help me in some way back to normality.

On the other hand, the new Galaxy S10 has, I have discovered, an amazing camera with three separate lenses, for normal, wide angle and telephoto images. It is also rather good at macro photography. And it comes with a whopping 128GB of storage space for those new fountain pen images. Also the screen size is 6.1 inches as opposed to 5.1 inches for my old S6.

So it is not all bad news. I have only had the new phone for two days and I am sure we will bond gradually. I have 30 fountain pens currently inked but I have made a list of them not so long ago in one of my journals and can just about remember which ones had had a change of ink since then. I think I had better make a new start with a database, to give my mind something to do.

The moral of the tale is to back up your stuff from your mobile, if it is important and you do not want to suddenly lose it. And for what we do lose, sometimes it is not so bad as it seems and we awake to new opportunities. I am looking forward to giving those three camera lenses a try.

My (restrained) haul from the London Pen Show, Spring 2019

This year for the first time, London has two pen shows. In addition to the usual one in October, a second London date in March was added to replace the show in Cambridge.

I had been looking forward to it, albeit with conflicting ideals of (a) trying to be sensible and not buy more pens unless there was some good reason and (b) having a look at the new Leonardo Furore, the Opus 88 Omar or Koloro, the new Scribo in blue and perhaps a Sailor Pro Gear Ocean, (although I was still undecided on nib choice). My preparations for the day included bringing cash, a bigger shoulder bag, dressing lighter, and bringing some ink plus a pen that I had agreed to lend to a friend Gary. My wife was also joining me for her first pen show.

We arrived soon after 9am and had time for a chat with some friends from my pen club before the early bird admissions at 9.30am.

Once inside, the temptations came thick and fast. At the first table I realised I had forgotten to bring my loupe to look at nibs. I handled a modern Conklin Mark Twain Crescent Filler in black carbon fibre for £100.00 which was likely to sell fast. I have two of these pens in the red and the coral resin and managed to resist.

Next, with my powers of resistance already depleted I found Stefano’s table. I first met Stefano at last October’s show, when I bought a new limited edition Delta Fantasia Vintage from him, in beautiful dark green celluloid. This time his table included a prominent display rack of brightly coloured Leonardo Officina Italiana Furore pens. Last year, the Leonardo Momento Zero fountain pen was very well received. I had bought one in an attractive burgundy resin. The new model, the Furore was introduced late last year and I had not yet seen one in the flesh. Like the Momento Zero, it is a resin pen, cartridge converter filler, with a good quality stainless steel nib. A blind cap unscrews to access the converter without removing the barrel if you wish. Whilst the Momento Zero had flattened ends, the Furore goes for bullet shaped ends and looks very appealing in photos on social media.

Leonardo Furore Arancio

it is a good sized pen, wide and chunky but sleek. I liked the look of the turquoise model and the bright red, both very vibrant, but it was the orange one that most took my fancy. It had an Extra Fine nib but Stefano kindly swapped it for a Fine. They are friction fit although this involved a bit of a wrestle.

The new Furore, from Leonardo Officina Italiana

These pens, whilst not limited editions, are individually numbered on the barrel. Perhaps the orange (“Arancio”) edition was introduced after the first run. Stefano told me that he had only just received these from the manufacturers, just in time for the London show. The serial number of the orange pen was 001! I was already smitten but the serial number was a special bonus. I felt like David Gilmour owning the first Fender Stratocaster. This sort of thing does not normally happen to me. (Coincidentally I had been listening a lot to Brit Floyd on YouTube recently, the highly accomplished Pink Floyd tribute band).

Numero uno!

I had been attracted to the idea of having a bright orange pen since seeing the Pineider Avatar, saffron, in Harrods last year and perhaps seeing the Pelikan M600 in vibrant orange had also put ideas in my head.

Next I met John Hall of Write Here and had a look at the new Opus 88 pens on his table. He had brought the Koloro eye-dropper pens and also had one which had been fitted with a Titanium nib, which was quite flexy. I also liked the look and the size of the new larger, Omar pens. He had them in all colours except the green which was the colour that I might have bought, but there is always the online option. I later met a friend Vijay in the coffee lounge who had just bought an Omar in grey and it looked very nice. They hold a massive amount of ink but unlike my Opus 88 Demonstrator, it is more discretely hidden in the Omar.

At John Twiss’ table, in addition to his own range of pens, he had a few Diplomat Excellence pens at irresistible prices. I saw a smart silver grey model and also the metallic brown Marrakesh. Both were fitted with 14k gold Diplomat nibs and were for sale at £150.00 , which as John pointed out was less than Cult Pens’ price for the steel nib version. I have a Diplomat Esteem, which is the mid sized model, with a steel nib which is fabulous, very smooth and a little springy. I had thought about buying an Excellence, (the large size model) as the nibs are so good but had never seen a gold nib version for sale. I chose the Marrakesh, with a 14k gold nib in a Fine.

The Diplomat Excellence A2 Marrakesh with a Fine nib in 14k gold.

John Twiss also had an unusual Diplomat Excellence in a beautiful geometric pattern of dark blue and black rectangles for £70.00, which looked stunning under the lights. I persuaded my wife to buy it, telling her how great Diplomat pens are and how you do not see them for sale here, even in Harrods or Selfridges. She also liked a ball point pen in a retro design with metal latticework. John offered her a price of £10.00 for these if bought with the Excellence. She bought two of them.

Wife’s haul. A Diplomat Excellence, with a steel nib (Fine) and a screw cap. Also two ball point pens. Not bad for a first timer.

It was good to see so many friends from our monthly pen club meet ups, about 12 of them, and to introduce my wife. Jon and his wife Deb had a table, to promote Pensharing, Jon’s online scheme to enable people to hire pens from each other. We also spoke to the vendors, many of whom I know by name now from previous pens shows.

We stopped by the Armando Simoni Club table, to talk to Europe Sales Manager Cristina Guida. I looked at a really gorgeous Wahl Eversharp in turquoise with a massive gold nib. which looked like a grail pen, if not a daily carry.

Cristina from Armando Simoni Club

We met Sarj Minhas and had a look at his extensive displays, living up to the name of the one man pen show. We stopped to talk to KWZ Ink, over from Poland. I had met Konrad Zurawski and Agnieszka when they visited our London pen club meet up in June last year. Their table had a well organised ink testing station with colourful samples of their expanding range of inks.

Agnieszka and Konrad Zurawski of KWZ Ink. Also Konrad’s homemade chocolate brownie!

After going round a couple of times, we took a break in the coffee lounge. Many of our pen club had gathered and it was fun to hear what others had bought. We had some lunch and a cup of tea, chatting to friends. My wife was happy to sit out the next round while I went back in for another lap. There was so much to see and I could very easily have got carried away if money had been no object. I had a look at a Sailor pen on The Writing Desk’s table (Martin and Anna Roberts). I have bought a several pens from them in the past. I held off this time but bought a bottle of Diamine Cherry Sunburst (in the Gibson Les Paul guitar series).

Ink stash from the show. Montblanc William Shakespeare Velvet Red, Diamine Tavy, a Diamine Conway Stewart mystery ink (green) bought because of the cute bottle and a Diamine Cherry Sunburst.

The aftermath

The pen show experience does not end when you leave the hall. Back home in the evening, I caught up on the many photos of the day on Instagram and enjoyed Anthony’s excellent blog on UK fountain pens.

It had been a wonderful day. I inked up both of my new pens, after rinsing the nibs which had been dipped at the show. I chose to put the Diamine Cherry Sunburst in both. The brown ink looked quite nice on cream paper, although I was tired by then and with hindsight it was a mistake to ink up two new pens at once, particularly with the same new ink. The ink is more suggestive of the natural wood colour than the red and gold sunburst paint job of a Les Paul. I also noticed that the Furore resin is semi translucent and that when inked, the dark ink is visible through the section and slightly spoils the effect of the bright orange. Both of my new pens had Fine nibs.

Leonardo Furore, Fine nib (gold colour plating)

During the week I had the opportunity to spend time using the Diplomat Excellence taking notes at a day of CPD lectures. By then I had refilled it with my favourite blue black, Diamine’s Conway Stewart Tavy which suits it better. The pen writes reliably and well although the nib feels a bit firmer than I had expected. Perhaps I was remembering the Scribo Extra Flex nib that I had tried at the show which makes normal nibs feel like nails. The Diplomat has a pleasant feedback. I expect the nib will feel smoother once it has been written in. It is also a heavy pen at 47g posted, or 29g unposted.

There were lots of other pens that I resisted. I could have bought another Wancher Crystal Emerald (clear demonstrator with lovely dark green section and ends) but reminded myself that I already have three of these eye-dropper, cartridge converter pens. They are the perfect size and shape for me and the Jowo steel nibs are generally very good. I also looked at some old Parker Duofold Big Reds, as seen in the advertisements of the 1920’s but without knowing more about them and their prices I would need some help to find one.  There were countless other vintage Parkers and other pens at affordable prices, with coloured stickers indicating the price group but I passed these by.

As always, the pen show makes for a great day out. My only regrets are of not spending more time at certain tables, such as Onoto for example and that I took hardly any photos during the show but with the limitations of time and energy and with so much to see, it is difficult to make the most of the day. I did not do too badly and there is always the next one in October.